Answer the question at the end by quoting:

Horslips are an Irish Celtic rock band that compose, arrange and perform songs frequently inspired by traditional Irish airs, jigs and reels. The group are regarded as 'founding fathers of Celtic rock' for their fusion of traditional Irish music with rock music and went on to inspire many local and international acts. They formed in 1970 and 'retired' in 1980 for an extended period. The name originated from a spoonerism on The Four Horsemen of the Apocalypse which became "The Four Poxmen of The Horslypse".
In March 2004, three Horslips enthusiasts, Jim Nelis, Stephen Ferris and Paul Callaghan, put on an exhibition of Horslips memorabilia in The Orchard Gallery in Derry. It was opened by the band, who played five songs acoustically. Buoyed by this first public appearance in 24 years, Horslips returned to the studio in Westmeath to produce a studio album, Roll Back, in the summer of 2004. Described as "Horslips Unplugged", the album contained acoustic reworkings of many of their best-known songs. The same exhibition moved to Drogheda in October 2005, courtesy of longtime fan Paddy Goodwin, and was formally opened on 6 October by a tribute band, Horslypse, composed of nine teenage musicians. Horslips did a version of "Furniture". The exhibition moved to Belfast in February and March 2006 and there were plans for a New York showing in 2007. In February 2008, the exhibition opened in Ballinamore in County Leitrim, and in July it opened in Ballybofey in Donegal. A double DVD entitled Return of the Dancehall Sweethearts came out in November 2005. Disc one is a documentary and disc two was live footage of the band from the 1970s, including promo videos and slots on The Old Grey Whistle Test. In December 2005, the band played in front of an invited audience for the recording of the RTE television program Other Voices in Dingle in County Kerry. Part of the set included three songs done "full-on" - the first time the band had played live and electric since October 1980. The last Horslips' event in this phase of their career was a TG4 tribute show recorded and broadcast live on 25 March 2006 before a live invited studio audience. A number of Irish personalities were interviewed, in Irish, about what the band meant to them and how Horslips shaped modern Irish music.

did they do anything else after the RTE

The last Horslips' event in this phase of their career was a TG4 tribute show recorded and broadcast live on 25 March 2006 before a live invited studio audience.

Answer the question at the end by quoting:

Pierrot (French pronunciation: [pjeRo]) is a stock character of pantomime and commedia dell'arte whose origins are in the late seventeenth-century Italian troupe of players performing in Paris and known as the Comedie-Italienne; the name is a diminutive of Pierre (Peter), via the suffix -ot. His character in contemporary popular culture--in poetry, fiction, and the visual arts, as well as works for the stage, screen, and concert hall--is that of the sad clown, pining for love of Columbine, who usually breaks his heart and leaves him for Harlequin. Performing unmasked, with a whitened face, he wears a loose white blouse with large buttons and wide white pantaloons. Sometimes he appears with a frilled collaret and a hat, usually with a close-fitting crown and wide round brim, more rarely with a conical shape like a dunce's cap.
In 1842, Deburau was inadvertently responsible for translating Pierrot into the realm of tragic myth, heralding the isolated and doomed figure--often the fin-de-siecle artist's alter-ego--of Decadent, Symbolist, and early Modernist art and literature. In that year, Gautier, drawing upon Deburau's newly acquired audacity as a Pierrot, as well as upon the Romantics' store of Shakespearean plots and of Don-Juanesque legend, published a "review" of a pantomime he claimed to have seen at the Funambules. He entitled it "Shakespeare at the Funambules", and in it he summarized and analyzed an unnamed pantomime of unusually somber events: Pierrot murders an old-clothes man for garments to court a duchess, then is skewered in turn by the sword with which he stabbed the peddler when the latter's ghost lures him into a dance at his wedding. The pantomime under "review" was a fabrication (though it inspired a hack to turn it into an actual pantomime, The Ol' Clo's Man [1842], in which Deburau probably appeared--and also inspired Barrault's wonderful recreation of it in Children of Paradise). But it importantly marked a turning-point in Pierrot's career: henceforth Pierrot could bear comparisons with the serious over-reachers of high literature, like Don Juan or Macbeth; he could be a victim--even unto death--of his own cruelty and daring. When Gustave Courbet drew a crayon illustration for The Black Arm (1856), a pantomime by Fernand Desnoyers written for another mime, Paul Legrand (see next section), the Pierrot who quakes with fear as a black arm snakes up from the ground before him is clearly a child of the Pierrot in The Ol' Clo's Man. So, too, are Honore Daumier's Pierrots: creatures often suffering a harrowing anguish. In 1860, Deburau was directly credited with inspiring such anguish, when, in a novella called Pierrot by Henri Riviere, the mime-protagonist blames his real-life murder of a treacherous Harlequin on Baptiste's "sinister" cruelties. Among the most celebrated of pantomimes in the latter part of the century would appear sensitive moon-mad souls duped into criminality--usually by love of a fickle Columbine--and so inevitably marked for destruction (Paul Margueritte's Pierrot, Murderer of His Wife [1881]; the mime Severin's Poor Pierrot [1891]; Catulle Mendes' Ol' Clo's Man [1896], modeled on Gautier's "review").

Is he punished for the murder?
the latter's ghost lures him into a dance at his wedding.