input: After brief trial runs with Larry Wallis (February - October 1972) and Bernie Marsden (he toured with UFO in Europe and recorded a pair of demos, "Oh My" and "Sixteen") the band recruited Michael Schenker from Scorpions in June 1973. Schenker was only 18 at the time but was already a well-respected guitarist. On a new label, Chrysalis Records, the revamped UFO recorded a non-LP single in 1973, "Give Her The Gun" and "Sweet Little Thing" with producer Derek Lawrence. In 1974, under producer Leo Lyons (formerly of Ten Years After), UFO recorded Phenomenon, which highlighted the band's harder-edged guitar sound. Phenomenon contains many fan favorites such as "Doctor Doctor" (later a minor hit single as a live track) and "Rock Bottom" (which was extended live to provide a showcase for Schenker). By the time of the Phenomenon tour, ex-Skid Row guitarist Paul Chapman joined the group, but he left in January 1975 to form Lone Star.  Two later albums, Force It (July 1975) and No Heavy Petting (May 1976) (the last was recorded with a regular keyboardist, Danny Peyronel as well as harmony vocalist and also songwriter), and extensive touring brought UFO increased visibility with American audiences and increased their following in the UK. The song "Belladonna" from No Heavy Petting was very popular in the USSR after the cover version of Alexander Barykin.  In July 1976, the band recruited keyboardist and rhythm guitarist Paul Raymond from Savoy Brown to make 1977's Lights Out. This album was the pinnacle of UFO's studio career containing songs such as "Too Hot to Handle," "Lights Out," and the 7-minute opus "Love to Love." With Lights Out, the band received substantial critical acclaim. With their new-found success, the band went back into the studio to record Obsession in 1978. Later that year, the band went on tour in the USA and recorded a live album, Strangers In The Night, which was released in January 1979. Strangers was a critical and commercial success, reaching Number 8 in the UK Albums Chart in February 1979.

Answer this question "Where did they go on tour?"
output: went on tour in the USA and recorded a live album, Strangers In The Night, which was released in

Question: 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.

He is sometimes said to be a French variant of the sixteenth-century Italian Pedrolino, but the two types have little but their names ("Little Pete") and social stations in common. Both are comic servants, but Pedrolino, as a so-called first zanni, often acts with cunning and daring, an engine of the plot in the scenarios where he appears. Pierrot, on the other hand, as a "second" zanni, is a static character in his earliest incarnations, "standing on the periphery of the action", dispensing advice that seems to him sage, and courting--unsuccessfully--his master's young daughter, Columbine, with bashfulness and indecision.  His origins among the Italian players in France are most unambiguously traced to Moliere's character, the lovelorn peasant Pierrot, in Don Juan, or The Stone Guest (1665). In 1673, probably inspired by Moliere's success, the Comedie-Italienne made its own contribution to the Don Juan legend with an Addendum to "The Stone Guest", which included Moliere's Pierrot. Thereafter the character--sometimes a peasant, but more often now an Italianate "second" zanni--appeared fairly regularly in the Italians' offerings, his role always taken by one Giuseppe Giaratone (or Geratoni, fl. 1639-1697), until the troupe was banished by royal decree in 1697.  Among the French dramatists who wrote for the Italians and who gave Pierrot life on their stage were Jean Palaprat, Claude-Ignace Brugiere de Barante, Antoine Houdar de la Motte, and the most sensitive of his early interpreters, Jean-Francois Regnard. He acquires there a very distinctive personality. He seems an anomaly among the busy social creatures that surround him; he is isolated, out of touch. Columbine laughs at his advances; his masters who are in pursuit of pretty young wives brush off his warnings to act their age. His is a solitary voice, and his estrangement, however comic, bears the pathos of the portraits--Watteau's chief among them--that we will encounter in the centuries to come.

Using a quote from the above article, answer the following question: What do they have in common?
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Answer:
but the two types have little but their names ("Little Pete") and social stations in common.