IN: Cho was born into a Korean family in San Francisco, California. She grew up in a racially diverse neighborhood in the 1970s and 1980s, which she described as a community of "old hippies, ex-druggies, burn-outs from the 1960s, drag queens, Chinese people, and Koreans. To say it was a melting pot -- that's the least of it. It was a really confusing, enlightening, wonderful time."

In 2005, Cho released her second book, I Have Chosen to Stay and Fight, a compilation of essays and prose about global politics, human rights, and other topical issues. Cho launched a national book tour in support of the collection. An audio reading of the book was also released. A DVD of a live taping of her Assassin tour was released in conjunction with the book. The same year, Cho started promoting and touring with her new show, Assassin. The show became her fourth live concert film and premiered on the gay and lesbian premium cable network Here! TV in September 2005. In this DVD, she notably includes herself when talking about gays, saying "we" and "our community." Posters for Assassin featured Cho in paratrooper gear and holding a microphone in the style of an automatic rifle, a reference to the infamous 1974 photo of heiress Patty Hearst. Cho launched "The Sensuous Woman," a burlesque-style variety show tour, in Los Angeles on August 10, 2007, with tour dates scheduled through November 3, as of October 10. Scheduled tour stops meant to follow Los Angeles were Chicago, Illinois and New York City. On August 10, 2007 the San Francisco Chronicle reviewed the show, Cho's work, key events in her personal life and characterized the show thus: "In fact, as bawdy and bad-behaving as the cast gets, the whole show feels more like a crazy family reunion than a performance." Also in 2007, Cho appeared in The Dresden Dolls' video of their song "Shores of California," which was MCed by Amanda Palmer and in The Cliks's video for "Eyes in the Back of My Head," in which she appeared as Lucas Silveira's lover. She also provided the character voice for a character named Condie Ling on the Logo animated series Rick & Steve: The Happiest Gay Couple in All the World. Her episodes began airing in 2007. The premiere performance of Cho's "Beautiful" tour was on February 28, 2008, in Sydney, Australia as part of the Gay and Lesbian Mardi Gras Festival. Cho was also the Chief of Parade for the festival's annual parade along Oxford Street on March 1. During her stay in Sydney, Cho was filmed shopping for parade outfits in a drag store with Kathy Griffin and Cyndi Lauper for Griffin's Bravo series My Life on the D-List. The episode featuring Cho aired on June 26, 2008. Cho and her family and friends appeared in an episode of NBC's series Celebrity Family Feud, which premiered on June 24, 2008. Later that summer, she appeared in her own semi-scripted reality sitcom for VH1, The Cho Show, which premiered on August 21, 2008 and lasted one season. She next appeared in the supporting cast of the series Drop Dead Diva, which debuted in July 2009.

what was her biggest role?

OUT: The same year, Cho started promoting and touring with her new show, Assassin.

IN: Pieter Cornelis "Piet" Mondriaan, after 1906 Mondrian (; Dutch: ['pit 'mondrija:n], later ['mondrijan]; 7 March 1872 - 1 February 1944), was a Dutch painter and theoretician who is regarded as one of the greatest artists of the 20th century. He is known for being one of the pioneers of 20th century abstract art, as he changed his artistic direction from figurative painting to an increasingly abstract style, until he reached a point where his artistic vocabulary was reduced to simple geometric elements. Mondrian's art was highly utopian and was concerned with a search for universal values and aesthetics. He proclaimed in 1914: Art is higher than reality and has no direct relation to reality.

When the 47-year-old Piet Mondrian left the Netherlands for unfettered Paris for the second and last time in 1919, he set about at once to make his studio a nurturing environment for paintings he had in mind that would increasingly express the principles of neoplasticism about which he had been writing for two years. To hide the studio's structural flaws quickly and inexpensively, he tacked up large rectangular placards, each in a single color or neutral hue. Smaller colored paper squares and rectangles, composed together, accented the walls. Then came an intense period of painting. Again he addressed the walls, repositioning the colored cutouts, adding to their number, altering the dynamics of color and space, producing new tensions and equilibrium. Before long, he had established a creative schedule in which a period of painting took turns with a period of experimentally regrouping the smaller papers on the walls, a process that directly fed the next period of painting. It was a pattern he followed for the rest of his life, through wartime moves from Paris to London's Hampstead in 1938 and 1940, across the Atlantic to Manhattan. At the age of 71 in the fall of 1943, Mondrian moved into his second and final Manhattan studio at 15 East 59th Street, and set about to recreate the environment he had learned over the years was most congenial to his modest way of life and most stimulating to his art. He painted the high walls the same off-white he used on his easel and on the seats, tables and storage cases he designed and fashioned meticulously from discarded orange and apple-crates. He glossed the top of a white metal stool in the same brilliant primary red he applied to the cardboard sheath he made for the radio-phonograph that spilled forth his beloved jazz from well-traveled records. Visitors to this last studio seldom saw more than one or two new canvases, but found, often to their astonishment, that eight large compositions of colored bits of paper he had tacked and re-tacked to the walls in ever-changing relationships constituted together an environment that, paradoxically and simultaneously, was both kinetic and serene, stimulating and restful. It was the best space, Mondrian said, that he had inhabited. He was there for only a few months, as he died in February 1944. After his death, Mondrian's friend and sponsor in Manhattan, artist Harry Holtzman, and another painter friend, Fritz Glarner, carefully documented the studio on film and in still photographs before opening it to the public for a six-week exhibition. Before dismantling the studio, Holtzman (who was also Mondrian's heir) traced the wall compositions precisely, prepared exact portable facsimiles of the space each had occupied, and affixed to each the original surviving cut-out components. These portable Mondrian compositions have become known as "The Wall Works". Since Mondrian's death, they have been exhibited twice at Manhattan's Museum of Modern Art (1983 and 1995-96), once in SoHo at the Carpenter + Hochman Gallery (1984), once each at the Galerie Tokoro in Tokyo, Japan (1993), the XXII Biennial of Sao Paulo (1994), the University of Michigan (1995), and - the first time shown in Europe - at the Akademie der Kunste (Academy of The Arts), in Berlin (22 February - 22 April 2007).

Where was the environment for him to create his Works?

OUT:
Mondrian moved into his second and final Manhattan studio at 15 East 59th Street,