When Kathy Kepler was offered a job forty years ago to help sell sweet corn from a roadside farmstand, she took the job because she thought the guy managing it, Steve, was cute. She has good instincts: She’s now been both his business partner and his wife for decades.

Steve had long been helping his older brother, Frank, with his homegrown produce, which they began selling in 1977 all around Rochester from those roadside stands. They named the produce business Sara’s, after Frank’s daughter, born that same year. With time and demand, the business evolved from those humble beginnings to a sprawling, multifaceted store, Sara’s Garden Center, located at 389 East Avenue in Brockport. It now sells hundreds of varieties of indoor and outdoor plants, seeds, gardening tools, décor, and more.

As Sara’s approaches its fiftieth anniversary, Kepler reflects on the journey that brought them here. She and Steve took over the business in 2001, during a period marked by personal losses and professional change—just as Frank and his wife were ready to hand over the reins. After so much uncertainty, the moment suddenly felt right.

“We landed in a good spot,” says Kepler. “And we were ready to take Sara’s to another level.”

They expanded on what was already being done, building nearly 20,000 square feet of greenhouses and furthering the venture into water gardens, including continued care for the now thirty-five-year-old lotus in one of the display ponds.

Amidst all that evolution, Frank never left. He still serves as the nursery’s primary greenhouse grower. “He so loves growing things,” Kepler says. “He couldn’t imagine doing anything else.”

The grounds behind the store, with paths winding through elaborate display gardens and stone walls, invite customers to explore, conjuring an aura of mystery and endless possibilities. “That’s the goal,” she says. “You never know what you’re going to find. I almost want you to get lost out there.”

The stone walls are truly unique to Sara’s. Scott George, a Brockport resident and fellow plant lover who had long shopped at the garden center, builds stone walls professionally. Every fall for about fifteen years, he and several other world-renowned stonemasons—John Shaw-Rimmington from Canada, Patrick McAfee from Ireland, and Scottish master craftsman Norman Haddow, who worked on structures as famous as Scotland’s Balmoral Castle—came to Sara’s to teach classes and add elaborate, one-of-a-kind walls to the grounds with help from the students.

Kepler emphasizes that stones of these types are not something simply bought by the pallet at a hardware store. “You work with what you have,” she says, just as traditionally would have been done with stone buildings. For these classes and their resulting walls, George gathered many tons of stone from local hedgerows.

Those workshops ended with the COVID-19 pandemic, but the walls they built still stand strong—and are a popular draw for customers. Among the many photogenic sites on the property, the arched stone moon gate is perhaps the most popular stop. It was built in a single weekend by those craftsmen along with ten students.

For decades, local high school students have gathered at the garden center in their best finery for prom photos at the moon gate. Kathy estimates that about 300 students came last spring. She gets teary-eyed about how touched she is that Sara’s is where they’d want to go. “It makes me think, ‘Look how much our community loves us.’ We’re so lucky.”

Sara’s is engrained in the community, proud to be both a Town of Clarkson business and the gardener for the Village of Brockport, managing the hanging baskets and garden beds along Main Street and helping to develop gardens that attract pollinators. “We love doing it. We love that they asked us,” Kathy says. “It has served us so well to be here.”

In November and December, the store transforms into a wonderland of Christmas décor, a destination built into many families’ traditions. “We get our tree there every Christmas,” says Anne Panning, a Brockport resident and English professor at SUNY Brockport. “Each tree has a name tag on it, which I’ve saved year after year—Abominable Snowman, Peppermint Patty. It’s so lovely.”

Once the holiday rush passes and the long, gray days of winter drag on, locals know to watch for the countdown of days until spring on Sara’s front sign, reassuring passersby that brighter days are coming.

Sara’s welcomes gardeners of every level, whether experts, hobbyists, or first-timers. Bring your visions and your questions, and the staff will help you find the plants, supplies, answers, and inspiration you need.

They keep up on trends like the Pantone color of the year (for 2026, it’s “cloud dancer” white) and the various plants of the year named by organizations like All-America Selections (Claire Orange rudbeckia, sedum spectacular, and others) and the Perennial Plant Association (Andropogon gerardii “Blackhawks”), to help inform displays and meet demand. During the pandemic, houseplants made a big comeback. “You couldn’t keep enough houseplants!” says Kathy. “And it’s still huge, which is great.”

If you’re not sure what you want—or even where to begin—just ask. “You’ll get more access to what’s out there for you, instead of limiting your choices,” Kathy says. “Bring me your measurements, your photos, and we can go through them and design something for you right here.” Rather than looking at a list of Latin plant names that might not mean anything to the customer, she can lay out a plan with them there on the shop floor. “I think that’s the best way to design,” she says. “You can see how textures complement each other. You can explain the process and give them the tools, the information, they can use.”

Kathy is happy to invest this time and use her love of plants to guide others. “My brain was built for this kind of work,” she says with a smile. “It’s immediately satisfying. And intensely rewarding.” 

It’s no small commitment: seven days a week of physically demanding work, ten months of the year. Weekends are hectic. Summers come and go without vacations. 

“But I can’t imagine not doing this,” Kathy says. “I’ve gotta be with my plants.” sarasgardencenter.com 

This article originally appeared in the May/June 2026 issue of (585).

For decades, Julietta Fiscella built her career as a pathologist at the University of Rochester Medical Center, guided by scientific precision and a lifelong fascination with the human body. Born and raised in St. Lucia, an island nation in the Caribbean, her youth was shaped by village customs, time-honored remedies, and a deep respect for holistic care—experiences that quietly stayed with her long after she entered the field of medicine. What she did not expect was that, later in life, she would venture into an entirely new world: skincare. That journey gave rise to Julée Glow—a physician-developed, naturally derived skincare brand where clinical insight, heritage, and intention converge.

From microscope to mortar and pestle

Fiscella’s methodical attention to detail flourished throughout her many years in practice, sharpening her ability to recognize the subtle signatures of health and disease. Even as she evolved within her chosen discipline, her appreciation for natural treatments remained constant. After turning seventy, she found a new outlet for her curiosity, experimenting with skincare that joined childhood influences with a long-developed point of view. 

Her work began informally, testing botanicals and evaluating their effects through contemporary research. “I always loved to experiment with natural products for my skin because I understood the biology,” Fiscella says. What began as personal experimentation expanded into a purposeful and measured approach= to skincare formulation driven by rigorous study.

Though entrepreneurship may seem far removed from pathology, Fiscella sees a clear  throughline between the two. “Pathology goes well with the way I think,” she explains. “It is about design and molecular structures, so my right brain is very satisfied. Entrepreneurship, meanwhile, engages my left brain—my analytical side—with statistics, policies, and strategic planning.”

Plant roots and ancestral wisdom

Fiscella’s earliest memories brim with the vivid sights, sounds, and scents of St. Lucia, where daily life demanded resourcefulness and ingenuity. Healing and restorative practices were central to health and well-being, rooted in shared knowledge and lived experience. “Growing up in a tiny village in extreme poverty, there was no other way to treat illness,” she recalls. “We believed in traditional medicines that were handed down for generations.”

Fiscella recalls the process of oil extraction as a regular household routine. Coconuts and castor nuts were gathered, cracked open, and prepared for boiling. The kitchen was alive with the hiss of boiling water and coal pots glowing beneath bubbling mixtures. “I can still remember the beautiful smells,” she says. Rich, aromatic steam filled the air as nourishing oils were painstakingly skimmed and collected, becoming precious elixirs for skin and hair. The patience required and the sensory pleasures of the ritual left an indelible mark that carries into Julée Glow.

Small batches, big care

In a market dominated by mass production, Julée Glow embraces a distinctly different philosophy. The brand emerged organically, encouraged by friends who sampled early compositions. Fiscella’s commitment to craftsmanship means every jar and bottle is made in small batches, allowing a high degree of precision at every stage of production.

Each product begins with a clear purpose—hydration, protection, or preserving the skin’s overall integrity. “I am constantly poring over the literature to find out what natural ingredients work and what they specifically do,” she says. “I need scientific evidence. This is what sets my brand apart from the rest.” Her training in pathology created a methodological way of thinking, ensuring ingredients are selected for proven efficacy.

That perspective extends beyond components to how Fiscella understands skin itself. Years spent studying disease processes in organs and tissues steer her approach to creating her products. Rather than viewing skin as a surface to be perfected, Fiscella views it as what it is—a vital, complex organ, the body’s largest. “Because I know how the skin layers are formed as well as their specific purpose, I know what natural products can be beneficial for each one,” she explains. Rather than focusing solely on superficial results, she designs products to sustain the skin as a living system.

Safety and transparency anchor her work. “Even though you do not see your heart, you will not deliberately put harmful chemicals in it,” she remarks, a principle that guides her avoidance of unnecessary additives that could compromise skin health. To Fiscella, a healthy complexion is more than radiant—it’s strong, supported by carefully chosen, biologically compatible ingredients.

Today, Fiscella views Julée Glow as more than skincare—it is also a means to promote informed awareness and encourage consumers to think critically about product contents, marketing claims, and long-term skin health.

Signature product: Anse La Ray Body Butter

Among the brand’s signature offerings, Anse La Ray Body Butter stands out. Named after the coastal town in St. Lucia where Fiscella spent her formative years, it reflects the intersection of Caribbean roots and an astute, well-honed sensibility.

Made with a blend of shea butter and botanical oils, the body butter is designed to hydrate and soften while helping maintain the skin’s natural barrier. It melts easily on contact and absorbs smoothly, leaving skin nourished without feeling heavy.

The scent, expressed through the oils themselves, is gentle and understated rather than unnaturally intense. Anse La Ray reflects Fiscella’s preference for restraint and function—a body butter formulated with intention and made to fit seamlessly into everyday routines.

Looking forward

As Julée Glow expands, Fiscella is developing new offerings—day and night facial oils designed to facilitate collagen production and address inflammation using simple, pure, and natural ingredients. She is also completing a medicinal plant specialist program at Cornell University, deepening her understanding of medicinal plants and their role in skin health.

With her focus increasingly centered on Julée Glow, Fiscella envisions devoting more of her time to the brand, gradually stepping back from pathology to focus fully on the brand’s evolution and direction. Her vision for the future remains clear: to uphold Julée Glow’s standards and values, possibly establish a manufacturing facility in Rochester, and continue to educate the public about skincare and natural health.

Julée Glow reflects a lifetime devoted to healing, shaped by both scientific rigor and tradition. Fiscella’s work bridges those worlds, grounding her products in research while honoring the wisdom that first inspired them.

This article originally appeared in the May/June 2026 issue of (585).

Founded in 1969, the Visual Studies Workshop (VSW) is one of the longest-running nonprofit media art spaces in the country. It began with a vision for a graduate program for artists, historians, and curators that would help build the field of photography. To support this vision, VSW developed its core programs of exhibitions, publications, and residencies, nurturing experimental and expansive approaches to photography, film, and media art.

Recently, VSW received a grant of $80,000 from the Andy Warhol Foundation for the Visual Arts. The workshop employs six city residents in addition to bringing exceptional artists to the neighborhood, and this grant comes at a time when federal funding for the arts is being withdrawn from many communities. “It’s a testament to the quality of programs we are offering,” says Jessica Johnston of VSW. “Funding like this is so important, as it gives us the opportunity to plan and implement more ambitious projects like the current exhibition on view and the projects we have in the planning stages for next year.”

Johnston loves working with artists and archives as much as she loves being an advocate for the arts. A curator, photography specialist, and administrator, she oversees the operations and strategic vision for VSW.

As a graduate student in Toronto, Johnston heard that Rochester was a great photo town. “When I got here, I was fascinated. Here was this mysterious place with an incredible collection of weird and wonderful photos, books, and films and a history of incredible impact on the field of photography. VSW almost seemed like it was in an alternate timeline or something.”

Before joining the workshop in 2014, Johnston spent eight years at the George Eastman Museum as an assistant curator in the photography department and also helped run the graduate program. She got to know the Rochester photo community, including VSW founders Nathan and Joan Lyons. It all started in an old woodworking studio that Nathan Lyons rented on Elton Street. Joan Lyons founded the VSW Press shortly after her husband opened the workshop, eventually publishing more than 600 books by artists.

Archives and artists

Last year marked an exciting new chapter for the workshop, with a relocation to 36 King Street, a fully accessible, 8,000-square-foot building in the historic Susan B. Anthony neighborhood. This newly renovated space is open to the public and includes a dedicated studio and workroom for artists in residence. It also features a gallery, media arts exhibition space, an analog darkroom, a research library, and a theater with raked seating for up to 100 guests.

“Our space is very welcoming, and the archives are such a big part of the culture at VSW,” says Johnston. The expansive research library houses thousands of volumes on different art mediums and a collection of more than 60,000 hand-colored glass lantern slides organized by geographic location and subject. “Anyone can make an appointment to come in and look at books or lantern slides or just get a tour.”

While taking a tour, you might meet an artist in residence like Preston Gannaway, a Pulitzer Prize–winning documentary photographer and one of twelve artists who will come to VSW this year. “It’s a great space,” says Gannaway. She will live and work here for four weeks, inviting the public in to see her art in progress at the end of her visit.

“One of the benefits of the residency is that we have this incredible visual media collection,” says Johnston. “Even if the artists aren’t using archival material in their work, they still often find visual references that are important to their artwork in some way.”

The facility provides archival storage for VSW’s media collections and art library as well as a dedicated media transfer lab where trained staff preserve and digitize video and audio materials, ensuring the long-term care and accessibility of important artworks and historical records. “We love film and video and keeping the old playback systems running,” says Johnston. The transfer lab can digitize more than eighteen formats of video and film—a service offered to the public.

The archives also include an impressive 16mm film collection related to the region from the Rundel Memorial Library that Johnston’s team loves to share with the community. “We do a program called Community Curator, where we bring in community leaders to work with a curator and choose a program,” she says. “We pay them a stipend, and they bring their community here to watch it.”

Currently on display until June 6 is Peer Bode: Signal into Memory, which includes projections and installations of recently digitized videotapes from Bode’s archive, as well as prints that reflect his work. Bode has created an extensive body of work that investigates electronic media events, active perception systems, and the cultural impact of media tools and technologies.

VSW offers a handmade film workshop as well as a series of three Saturday Game Jams, an inclusive way for local storytellers, hobbyists, and artists of all ages to come together with only basic computer skills to make a video game from scratch in one sitting. A pop-up arcade will showcase the games for the public to play along with projections of the 16mm films and 35mm slides made by students in the Handmade Film Workshop.

The Visual Studies Workshop team is excited to honor educator and artist Dawoud Bey at its second annual fundraising gala on October 3. While in residence, Bey made portraits of people he met while exploring Rochester, including a beautiful portrait of a couple at a bus stop on Main Street.

Along with bookkeeping and grant writing, Johnston wants to make sure that VSW is maximizing its impact on the Rochester community, fulfilling its mission. “I believe in VSW’s vision for a society that values the human need to create and share ideas,” she says. “And I feel good going to work at a place that has those values.”

The VSW gallery is open to the public during scheduled events and regular gallery hours. The collections and library are available by appointment. All events are free, though donations are welcome, and workshops typically carry a small fee. Visit vsw.org to learn more or sign up for the newsletter.

This article originally appeared in the May/June 2026 issue of (585).

Less than two minutes into my interview with Andrea Holland, founder of Andrea Holland Coaching, I could already tell this was a person I could learn from. Holland, a self-proclaimed troublemaker, takes pride in her loquacious personality and direct communication style, traits that have served her well throughout her robust professional career.

“I’m a mouthy broad who comes in and says the thing,” notes Holland. “I’m okay with that, because, if making myself or someone else uncomfortable wakes them up to a greater gain for themselves, that’s a win.”

Following college, Holland began working at the American Red Cross four weeks post-9/11 before transitioning to a position as an on-air radio DJ. From there, she dabbled, holding various roles in communications and public relations (and even applying to culinary school) before assuming her current post as an executive coach.

Holland’s career shift from media to leadership transpired unexpectedly. After leaving her position in video production for Skillsoft, an educational technology platform, Holland was browsing social media when a post from an acquaintance caught her attention.

“I wasn’t sure what my next move was going to be,” says Holland, “when someone I had just met said she had a radio interview scheduled and wasn’t sure how to prepare for it, so she was looking for tips. I connected with her over coffee and she brought the CEO from her organization.”

“You’re really good,” the CEO said to Holland. “What’s the name of your company?”

“Um … Talent Communications!” she replied, inventing a personal brand on the spot. Shortly thereafter, Andrea Holland Coaching was born. Holland credits her successful transition between industries to her comfort with risk-taking: “I just kept saying yes.”

Despite Holland’s innate enthusiasm, executive coaching was a difficult field to break into in 2012, especially for women. “When I first began coaching [fifteen years ago], people thought I was a life coach. [At the time,] there weren’t a lot of coaches. In fact, I remember people saying, ‘What are you doing? Just get a job in public relations again,’” says Holland. “[Coaching, as a profession,] was a new concept unless you were in a C-suite at a large corporation, positions that were traditionally held by white male executives.”

However, recent developments within the field have been positive. “It makes me happy to see how hiring practices have evolved,” Holland says. “Now, there are more women [coaches], more women of color, you name it. I am a very diverse person, and I think we need to be investing in all kinds of people.”

Throughout the past fifteen years, Holland has relied on her firsthand experience to identify and combat the myriad challenges facing corporate America. While organizational struggles ebb and flow, a few key themes stand out.

“Burnout and decision fatigue are always hard for businesses,” says Holland. “I’m also seeing emerging fears about new technology—like AI—as companies work to stay relevant.” Common workplace stressors, like the possibility of job elimination due to automation, segue into organizational conflict and the disintegration of company culture and morale.

“We start [partnering with clients by] determining how decisions are made at their organization, defining roles, and finding gaps in communication,” says Holland. “Then, we triangulate that data into [actionable] results.”

While organizations are guided by shared values, employees define values differently, which can lead to misunderstanding. For instance, accountability may make one individual feel like the company cares about their success, while another person may interpret the same concept as micromanagement.

“And then you’ve got to decide,” says Holland. “Is this what I want? The hardest conversation and the most joyful one I have with people is … you have choices. Exercise them.”

At times, employees may feel uncomfortable having frank conversations about workplace   values, but Holland does not shy away from hard-hitting topics. Frequently, she asks her clients, “What is important to you? What are your boundaries? And what don’t you want us to ask you about?”

Holland shares a memorable coaching experience: “I was working with a leader who was new to her executive role, and she had to speak at an event. Everybody told her, ‘We really want you to share your personal story,’ and she really struggled with vulnerability as a leader.

“I found a simple formula for storytelling, and the most important piece is ‘Never give away that vulnerable piece of yourself without directing the audience on how to use that data,’” says Holland. “In doing that, [the speaker] was able to build her confidence and communication skills.”

When Holland isn’t engaging in one-on-one or group coaching sessions, she is partnering with her cofacilitator—another coach for Andrea Holland Coaching—on interactive workshops and executive happy hours or promoting a retail product she created, the Executive Deck.

“In 2025, a disproportionately large number of women exited the workforce, primarily women of color. [The Executive Deck] was designed specifically because I recognized a gap in the marketplace. Companies invest a lot of money in their C-suite leaders, but [less in everyone else],” says Holland.

The Executive Deck contains thirty cards, all related to the five key areas of leadership Holland focuses on in coaching sessions (communication, resilience, resistance, relationships, and self- awareness). Holland removes a card from the deck and sets it in front of me. “This one is about self-talk,” she says. “You scan it and it’ll take you to a mini course with audio and video, allowing you to take a deeper dive [into the topic].”

“The Executive Deck Happy Hour is our newest offering,” says Holland. “We bring in [the Executive Deck], and the [group] shuffles and plays with the cards. We play ‘musical deck’ with actual music and chairs.”

“We also offer workshops on several different topics, including conflict management, public speaking, and media training,” Holland adds. “We also do a lot of team development workshops, and then we have the big fish, which is cultural development.”

While Holland’s work is often challenging, the rewards are abundant. “At the end of the day, you have entire systems trying to exist and move things forward, and that’s a beautiful thing,” she says. “I love what I do. It’s good work. It’s important work.”

This article originally appeared in the May/June 2026 issue of (585).

On a typical spring Saturday, you will find hair salons across the city bursting with young girls with coffees in hand, nails freshly painted, makeup perfectly applied, and dreams of the moment they get to reveal the beautiful look they have spent weeks or months planning. For many, prom night glamour is simply a given. Getting a lovely dress is expected. But when you look from a different angle, specifically a financial one, you will find this is not true for every teen. When faced with an unstable economy and ever-increasing prices, having to fork out hundreds or thousands for a single evening is simply unrealistic for many families. But just because it’s unrealistic, does it mean it’s impossible?

Queue Fairy Godmothers of Rochester, an organization based purely on the belief that every young woman deserves to have a magical prom experience. Founded in 2003, the volunteer-run nonprofit took a major step bridging this economic gulch by believing that no one should have to miss prom simply because they can’t afford a gown. The solution was to offer a one-on-one styling experience where high school juniors and seniors can obtain a gown, shoes, and accessories at a heavily discounted rate or, in some cases, for free. Additionally, alteration services are offered on-site, meaning everything but hair and makeup is taken care of before the student walks out the door. More than twenty years later, Fairy Godmothers is thriving and has secured its spot as a staple in the Rochester community by simply acknowledging that every young woman deserves to wear a dress she adores.

Through a carefully maintained collection of donated prom gowns, these teens are immersed in a magical world of sparkle, color, and flair from the minute they walk through the door. With some pieces gently loved and others new with tags still attached, they have a variety of modern styles that could stand side by side with any gown purchased in a major department store. To give these pieces the justice they deserve, our models, Juliet and Arwen, gathered within the enchanting walls of Narrativa Space for an afternoon of floral felicity.

Stunning in silver, Juliet blows us away in an embellished mermaid gown from the designer La Femme. It is hard to pinpoint just where the true beauty of this piece lies. Is it in the custom, hand-stitched beadwork? Is it in the luxurious layers of tulle gathered and gracing the bottom of the gown? While we might not be able to pin down the exact element that makes it so stunning, all of the gown’s components come together to paint a picture of sophistication, wonder, and a whole lot of whimsy. Speaking of whimsy, Arwen is a vision in lavender draped in a gorgeous ball gown from the designer Dave & Johnny. Delicate spaghetti straps lead into a thoughtfully constructed boned bodice that blossoms into a breathtaking bell-shaped skirt gently dusted in glitter. Scattered throughout are graceful 3-D tulle butterflies that make it feel as though the dress itself has come to life. Topping off the piece, we add a soft vintage cape that’s easy to drape on the shoulders if prom night starts to get a little chilly.

Switching things up, Juliet swaps her silver gown for one that leaves a more subtle but no less striking impression. This blush pink number from Morgan & Co. features a halter neckline with a keyhole opening at the collar. Upon closer inspection, one will notice luxurious embroidered fabric that looks as if it were plucked from the closet of Marie Antoinette herself. While extravagant, this dress is incredibly light, making it the perfect option for a nonstop night of dancing. Additionally, Arwen radiates confidence in a baby blue mermaid gown carefully crafted by Ellie Wilde. From bodice to hemline, the dress is saturated in incredible sparkling appliques that tie in perfectly with the vibrant florals gracing her face and hair. While some may find a train to be a hassle, you cannot deny that the waterfall of tulle cascading from her knees is the perfect final touch to leave a striking impression.

Being a young woman is a singular experience—one we are offered for a brief moment but remember for the rest of our lives. Thanks to Fairy Godmothers of Rochester, many teens are able to experience this wonder in a judgment-free space where they are embraced and celebrated. If you are interested in donating a gown, volunteering as a stylist, or engaging with the organization in another meaningful way, you can visit the organization’s website, fairygodmothersrochester.org. 

Photographer: Autumn Layne (@autumnlaynephoto)

Models: Juliet Besch-Turner (@julietbt_123), Arwen Gamez (@cokee116)

Hair: J’aime Cheveux (@j_aime_cheveux)

Makeup: China Bell (@chinabell)

Prom gowns provided by Fairy Godmothers of Rochester (@fairygodmothersroc)

Cape/Jewelry/Accessories provided by KBlue Vintage (@kbluevintage)

Venue: Narrativa Space (@narrativaspace) 

This article originally appeared in the May/June 2026 issue of (585).

This article originally appeared in the May/June 2026 issue of (585).

Rohrbach purchases Young Lion

For John Urlaub and the team at Rohrbach Brewing Company, purchasing the Young Lion Brewing Company (YLBC) made perfect sense. 

First, Rohrbach—the Rochester area’s oldest craft brewery, founded in 1991— currently employs Dan McCumiskey as head brewer, who once held the same position at YLBC.

“Dan is an extremely talented brewer, and he influences many of our business discussions,” says Urlaub, Rohrbach owner. “This one was an easy decision to make because Dan made these beers for years. Consistent quality is the key to the brand’s survival and growth.”

Also, Rohrbach and YLBC have maintained a relationship since the younger brewery’s inception in 2017. Jen Newman, co-founder of YLBC, came to Urlaub for advice before opening her business.

“I consider Jen a good friend, and this joining of our businesses means the world to me. I never imagined we would end up in this place, but I couldn’t be happier,” Urlaub says.

The YLBC brand previously was sold to K2 Brewing in 2024, and Rohrbach purchased it from K2 in January of this year.

In handling this transition, there are many aspects to the brand that require attention to maintain customer satisfaction and the brand’s continued survival and growth. The first focus must be on the quality of beer, says the Rohrbach owner.

Urlaub also wants to focus on the availability of the brand, which has been somewhat limited since the sale to K2. While it may take some time to get production back up and refill the pipeline, Urlaub also says, “we never rush great beers.”

After ensuring quality standards, and once Rohrbach can fill shelves again with the YLBC brand, the focus will be on growth and innovation.

“We plan to work closely with retail and distributor partners to grow the brand through consistency and innovation,” says Urlaub. “Our first goal is the focus on the core offerings, but limited releases will be coming down the pipe.” rohrbachs.com 

Funding a historic landmark

Photography pioneer George Eastman’s former residence, a 35,000-square-foot Colonial Revival mansion on East Avenue, requires its fair share of maintenance.

The home was built in 1905 and is now part of the George Eastman Museum, a National Historic Landmark that sees more than 120,000 visitors annually. 

The museum recently received a $500,000 Save America’s Treasures grant from the Historic Preservation Fund of the National Park Service to aid in its restoration. The goal, always, is to ensure the original residence looks and functions the way it did 120 years ago.

The funds will be used to restore and stabilize the home’s chimneys, parapets, and roof railings, which have seen significant decline from Rochester’s harsh winters. Most importantly, the grant will help address and prevent water infiltration, according to Bruce Barnes, the Ron and Donna Fielding Director of the museum.

Since 2012, the museum has invested $6 million in preservation, including work on the East Porch, the Palm House, gardens, and sixty-eight previously unrestored windows, to name a few projects.

The Save America’s Treasures grant—the securing of which Barnes credits largely to the efforts of Senator Charles Schumer—will help fund this first stage of a multistage project, which will include the roof, dormers, gutters, and downspouts. The whole project is estimated to cost more than $5 million.

While work is being done above the roof line over the next two years, the museum will block off certain areas outside the house to ensure the safety of visitors.

When the work is complete on the museum—which also features a 500-seat movie theater and is home to one of the nation’s largest film archives—the hope is that visitors won’t notice much.

“Whether [visitors] understand how much work went into it or not” says Barnes, “we want them to see it as close to what it originally was—as good as it would’ve looked if George Eastman were taking care of it.” eastman.org 

City Blue Imaging celebrates 100 years

For the past century, City Blue Imaging (CBI) has conducted business from downtown Rochester.

The enterprise began as City Blue Print Company, offering traditional blueprint and photography printing services, in 1926.

Today, CBI is a full-service imaging and graphics firm, with customers including WXXI, the Memorial Art Gallery, George Eastman Museum, and many more established, enduring local organizations.

For the past forty years, one family has held ownership of CBI, ensuring its success during a time of rapid technological advances.

The Cleary family purchased the company in 1986 (nine family members held ownership stakes at the time), and Mark Cleary was named president of the company. In 2023, Cleary’s brother-in-law, John Mealy, became the sole owner and assumed the role of president, while Cleary moved to vice president.

During CBI’s 100-year journey, many events have shaped the company, with three standing out to Cleary as pivotal turning points.

In 1950, the company was the first firm to receive a Xerox copier. In 1993, CBI officially entered the digital printing market with its acquisition of a firm called R.A. Ellis.

Most recently and most tragically, 2020 marked a devastating late-night fire that “completely destroyed the printing operation,” says Cleary. With tremendous support from the local community, the firm reopened three months later in a new facility next door, offering the same services in a much smaller footprint—less than half the size of the original space. 

Cleary says the move to a smaller space united employees and improved communications.

To celebrate a century in business, employees held a ceremonial toast at City Blue Imaging’s headquarters in January. In May, the company will hold a ribbon cutting with local dignitaries, and there will be a private celebration for employees in September. cityblueimaging.com 

This article originally appeared in the May/June 2026 issue of (585).

This is where I typically wax poetic about spring and getting fresh air after a hard winter, but outside my window there is quite a bit of snow, and it is seventeen degrees. I know that by the time this issue is ready it will be melted and the spring flowers will be here. By then the neighborhood kids will have their bikes out in force. There is an unused parking lot across the street from my house next to the banks of the Erie Canal. 

For twenty-four years I’ve had the privilege of watching scores of parents take their little ones out to this empty lot learn to bike. We did the same with our kids, though I have to admit biking was not easy or natural for them. I wish I knew of R Community Bikes when the kids were learning to ride; having a resource like that might have helped them enjoy the process a bit more. Heck, having a resource like R Community Bikes would have helped me with my biking skills. I admit that these days I prefer a nice walk to bike ride, but maybe someday I will reembrace biking. We'd like to offer a special thank you to our cover model, KJ Sager Engebrecht!

—Christine Green, Managing Editor