Answer the question at the end by quoting:

Henry Gustav Molaison (February 26, 1926 - December 2, 2008), known widely as H.M., was an American memory disorder patient who had a bilateral medial temporal lobectomy to surgically resect the anterior two thirds of his hippocampi, parahippocampal cortices, entorhinal cortices, piriform cortices, and amygdalae in an attempt to cure his epilepsy. Although the surgery was partially successful in controlling his epilepsy, a severe side effect was that he became unable to form new memories. H.M. was widely studied from late 1957 until his death in 2008. His case played an important role in the development of theories that explain the link between brain function and memory, and in the development of cognitive neuropsychology, a branch of psychology that aims to understand how the structure and function of the brain relates to specific psychological processes.
Henry Molaison was born on February 26, 1926, and experienced intractable epilepsy that has sometimes been attributed to a bicycle accident at the age of seven. (This accident was initially reported to have occurred at age nine, but was corrected by the patient's mother at a later stage.) He had partial seizures for many years, and then several tonic-clonic seizures following his 16th birthday. In 1953, he was referred to William Beecher Scoville, a neurosurgeon at Hartford Hospital, for treatment. Scoville localized Molaison's epilepsy to his left and right medial temporal lobes (MTLs) and suggested surgical resection of the MTLs as a treatment. On September 1, 1953, at the age of 27, Molaison's bilateral medial temporal lobe resection included the removal of the hippocampal formation and adjacent structures, including most of the amygdaloid complex and entorhinal cortex. His hippocampi appeared entirely nonfunctional because the remaining 2 cm of hippocampal tissue appeared to have atrophied and because the entire entorhinal cortex, which forms the major sensory input to the hippocampus, was destroyed. Some of his anterolateral temporal cortex was also destroyed. After the surgery, which was partially successful in its primary goal of controlling his epilepsy, Molaison developed severe anterograde amnesia: although his working memory and procedural memory were intact, he could not commit new events to his explicit memory. According to some scientists, he was impaired in his ability to form new semantic knowledge, but researchers argue over the extent of this impairment. He also had moderate retrograde amnesia, and could not remember most events in the one- to two-year period before surgery, nor some events up to 11 years before, meaning that his amnesia was temporally graded. However, his ability to form long-term procedural memories was intact; thus he could, for example, learn new motor skills, despite not being able to remember learning them. The case was first reported in a paper by Scoville and Brenda Milner in 1957. Near the end of his life, Molaison regularly filled in crossword puzzles. He was able to fill in answers to clues that referred to pre-1953 knowledge. For post-1953 information he was able to modify old memories with new information. For instance, he could add a memory about Jonas Salk by modifying his memory of polio. He died on December 2, 2008.

When was Henry born?

Henry Molaison was born on February 26, 1926,

Answer the question at the end by quoting:

Jeremy Webster "Fred" Frith (born 17 February 1949) is an English multi-instrumentalist, composer, and improvisor. Probably best known for his guitar work, Frith first came to attention as one of the founding members of the English avant-rock group Henry Cow. He was also a member of the groups Art Bears, Massacre, and Skeleton Crew. He has collaborated with a number of prominent musicians, including Robert Wyatt, Derek Bailey, the Residents, Lol Coxhill, John Zorn, Brian Eno, Mike Patton, Lars Hollmer, Bill Laswell, Iva Bittova, Jad Fair, Kramer, the ARTE Quartett, and Bob Ostertag.
Fred Frith has used a number of different guitars, including homemade instruments, over the years, depending on the type of music he is playing. For the more structured and refined music he has often used a Gibson ES-345, for example on his solo album, Gravity. For the heavier "rock" sound, as in Massacre, he has used an old 1961 solid body Burns guitar, created by the British craftsman Jim Burns. On his landmark Guitar Solos album, Frith used a modified 1936 Gibson K-11 guitar (q.v. for details). For Frith's early unstructured music, as with Henry Kaiser on With Friends Like These, and his early table-top guitar solo performances, he used a homemade six- and eight-string double-neck guitar created by a friend, Charles Fletcher. Frith told DownBeat magazine in 1983: "It was the one and only guitar that he ever built ... he constructed it mainly out of old pieces from other guitars that I had, and for the body I think he used an old door." The possibilities offered by homemade instruments prompted Frith to start creating his own guitars, basically slabs of wood on which he mounted a pickup, a bridge, and strings stretched over metal screws. "The basic design of the instrument is supposed to be as rudimentary and flexible as possible," Frith said, "so I can use an electric drill to bore holes into the body of it to achieve certain sounds ... ." Frith uses a variety of implements to play guitar, from traditional guitar picks to violin bows, drum sticks, egg beaters, paint brushes, lengths of metal chain, and other found objects. Frith remarked: "It's more to do with my interest in found objects and the use of certain kinds of textures which have an effect on the string ... the difference between the touch of stone, the touch of glass, the touch of wood, the touch of paper - those kinds of basic elements that you're using against the surface of the strings which produce different sounds." In a typical solo improvising concert, Frith would lay a couple of his homemade guitars flat on a table and play them with a collection of found objects (varying from concert to concert). He would drop objects, like ball bearings, dried beans, and rice on the strings while stroking, scraping, and hitting them with whatever was on hand. Later he added a live sampler to his on-stage equipment, which he controlled with pedals. The sampler enabled him to dynamically capture and loop guitar sounds, over which he would capture and loop new sounds, and so on, until he had a bed of repeated patterns on top of which he would then begin his solo performance.

Was there anything interesting about there playing technique?
Frith uses a variety of implements to play guitar, from traditional guitar picks to violin bows, drum sticks, egg beaters, paint brushes, lengths of metal chain, and other found objects.