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Tim Lord met Jay Kim at the RSA Conference in an Francisco. Kim's background is in manufacturing, but he's got an interest in security that has manifested itself in hardware with an emphasis on ease of use. His company, DataLocker, has come up with a fully cross-platform, driver independent portable system that mates a touch-pad input device with an AES-encrypted drive. It doesn't look much different from typical external USB drives, except for being a little beefier and bulkier than the current average, to account for both a touchpad and the additional electronics for performing encryption and decryption in hardware. Because authentication is done on the face of the drive itself, it can be used with any USB-equipped computer available to the user, and works fine as a bootable device, so you can -- for instance -- run a complete Linux system from it. (For that, though, you might want one of the smaller-capacity, solid-state versions of this drive, for speed.) Kim talked about the drive, and painted a rosy picture of what it's like to be a high-tech entrepreneur in Kansas.

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From NFL Cheerleader to MMA Fighter

This time last year, Rachel Wray was spending her Sundays on the sidelines of Arrowhead Stadium as an NFL cheerleader for the Kansas City Chiefs. She stumbled onto an MMA gym looking for a way to change up her workouts and before long she preferred the feel of the canvas to the stadium turf. Now she’s left the NFL for the fighter’s life. These days when her lips are red at work, it’s not lipstick—it’s blood. Wray talked to us about leaving cheerleading and how she’s prepping for her upcoming fight at the Voodoo Lounge in Kansas City later this month. 

FIGHTLAND: Is there any similarity between fight training and cheerleader training?
Rachel Wray: [Laughs] There is nothing similar between fight training and cheerleader training. To be a professional cheerleader you need dance practice, swimsuit modeling, football knowledge, public speaking, and have perfect hair, nails, and makeup at all times. I always laugh when I get out of a fight practice because I always look so disgusting —drenched in sweat, no makeup, hair a huge mess. As a cheerleader if your lipstick isn’t perfect at practice, you get in trouble. They are polar-opposite worlds.

Why did you leave cheerleading to become an MMA fighter?
The reason I chose to leave cheerleading to fight was simple: I enjoyed it more. Just when I was really getting into the MMA training, Chiefs cheerleader auditions were approaching. I had to make a decision. It was impossible to do both. I knew it was right because on nights when I had cheer practice, all I could think about was being at High-Davis Mixed Martial Arts gym. Fighting made me happier than cheerleading. I enjoyed it so much more, I made the switch. 

Read the rest over at FIGHTLAND.

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The Goonies is one of those movies you either grew up with as a child and love unabashedly, or you watched later in life, driven on hype and nostalgia, and it fell short. I’m firmly in the camp of the former – I adore everything about Richard Donner‘s film – and think Randy Ortiz‘s poster captures a lot of that adventure and wonder. Check out the full image below.

Thanks to for the reveal.

The poster, a 24 x 36 inch edition fo 330 first went on sale at a new Alamo Drafthouse location in Kansas City but leftovers will likely make their way online soon. Follow @MondoNews for the info.

ThisThe Goonies poster is Ortiz’s first screenprint for Mondo, but not his first work for the company. He did a Darth Vader, H.R. Giger inspired piece for their sci-fi gallery show in March. Previously, he also did some gorgeous posters for the Spoke Art Bad Dads show as well as a slew of gig posters. You can see more of his work on his official site.

Also, this is the third Goonies poster Mondo has ever done. There was a very early one in 2005 by Print Mafia and another in 2009 by Drew Milward. Check them both out at the previous link.

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For this week’s issue, we combed countless archives in search of the perfect photograph to accompany a history of the American Dream, the subject of the cover story by Jon Meacham. In the end, we turned to photographer Mike Sinclair, who’s been rigorously documenting America’s heartland near his home in Kansas City, Mo. When asked about his photos, he modestly says, “I never really set out to photograph the American Dream or western culture. These are not projects. The edits come out of thinking about themes. I like going through my work and then figuring it out.”

For more than 30 years, Sinclair has documented places where people gather, like state fairs, sporting events and parks. “I grew up in the heyday of LIFE and photojournalism. I realized early on that I was better at visual things,” he tells TIME.

Sinclair decided to pursue journalism at the University of Missouri, but after one year, he realized that it wasn’t a great fit. “I came under the spell of Winogrand and Friedlander and found them more interesting as a budding photojournalist. I eventually went to Southern Illinois University, where they had an undergraduate program in fine art photography. Once I got there, I was in heaven—it combined my interest in the fine arts and photography.”

“I just like everything about taking photos and going to these events. It’s a great counterpoint to photographing modern architecture,” says Sinclair, who does the job professionally to make a living between his documentary projects. All of his images reflect the rigor of an architectural photographer with the straightforward style of masters like Walker Evans, Joel Sternfeld and Stephen Shore.

“I switched to architecture because I thought after 30 or 40 years I’d have some kind of record of this time and what happened,” he explains.

Sinclair’s understated and introverted approach to documenting an event feels easygoing, placing viewers in the shoes of a local rather than an outsider. He photographs on trips he plans and usually goes with his family. “I kind of plant the camera in front of people and spend time with them,” he says. In all his images, he almost feels invisible.

Sinclair has no real plans for his work except to keep making it. In the beginning, he says, “I first shared the work to the owner of the Dolphin Gallery in Kansas City and was encouraged by him to show it [elsewhere]. Eventually, through them, my work found its way into collections around the country.” These collections include The Museum of Fine Arts, Houston, the Kemper Museum of Contemporary Art in Kansas City, and the Nelson-Atkins Museum of Art, also in Kansas City.

Sinclair disagrees when people label him as a certain type of photographer. “I don’t think of myself as a Midwestern photographer. I think the same sort of things happen everywhere I’ve been.” His image of the Fourth of July (featured above) speaks to his claim—it feels like it could represent almost anywhere in America.

“Part of what I’m interested in is this idea of public space and the preciousness of it. It’s something that we all need,” he says.

Mike Sinclair is a photographer based in Kansas City, Missouri. His current exhibition ‘Public Assembly’ is on view at Jen Bekman Projects in New York City until June 24. 

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When Jared Soares started photographing rappers in Virginia, they were suspicious. But he won them over with his love of hip-hop culture. In turn, they taught him a few things about creativity, expression - and straight-up hard work.

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I used to build my first base in Antarctica. That wasn't very clever of me.

In this next chunk of a mammoth chat with XCOM: Enemy Unknown‘s lead designer at Firaxis Jake Solomon, we talk Chrysalids, the death and critical wounding of your soldiers, the fanbase, why min-maxing X-COM’s not all it’s cracked up to be, the base, the geoscape and which of the original game’s aliens didn’t make the cut…

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