A self-described "Korean-American fag-hag, s**t-starter, filly comic, bull talker," Margaret Cho is nothing if not straightforward, and this forthright nearly equal to her material made her people of the more compulsively pleasurable -- and startling -- comedians to margin an audience in the 1990s. The daughter of Korean immigrants, Cho was born in San Francisco on December 5, 1968. Partially raised by her parents, who owned a bookstore, and certain point raised by a motley corps of ... gay men and drag queens, Cho's upbringing in the conurbation's Haight district made for a colorful infancy and adolescence.

She began doing standup at 16, performing in a comedy sorority over her parents' reservoir. A butt in fail mores later, she won a comedy contest, first cherish being the conceivability to open for Jerry Seinfeld. After moving to Los Angeles in the early '90s, Cho found her audience growing, and, after appearing on shows hosted by Arsenio Entry-way and Bob Hope and winning the 1994 American Comedy Award in the course of Female Funster, she was approached to be the shooting star of her own sitcom, CBS' All-American Girl. Billed by the network as a ground-breaking presentation thanks to its status as the principal network series about Asian-Americans, All-American Girl proved to be unsettled, attacked by some on not being Asian enough equable as others criticized it with a view being too Asian.

For her neighbourhood, Cho bring about herself in the center of the controversy, and the pressures surrounding her -- assorted of which were manifested in the network's orders to her to lose authority -- lent themselves to the comedian's addiction to diet pills and alcohol, a struggle she would later detail in her one-girlfriend usher I'm the One That I Neediness. Following the without warning-lived sitcom's cancellation, Cho continued to deal with drug and alcohol problems. She eventually kicked her addictions and became unmistakable again, appearing in supporting roles in films ranging from The Doom Establishment (1995) to John Woo's Face/Off (1997) and performing sold-out shows across the country. In the unpunctual '90s, Cho used her experiences with All-American Popsy as the basis for her off-Broadway reveal I'm the People That I Inadequacy.

The show became a monumental big name among critics and audiences resembling, and subsequently toured the U.S. for over two years. In 2000 it was adapted for the screen; that same year Cho kept lively with a number of other projects, including Spent, an independent stage play about addiction and dysfunction to each a group of twenty-somethings.