Question: Who can be quoted as writing that the best outcome happens when Guetta removes artists' comfort zones?
About the article "Turn Me On (David Guetta song)", section "Critical reception".

Candidate passages:
The song has garnered generally positive responses.
Scott Schelter wrote for "Pop Crush" that "It’s cool that Guetta is going for a little bit of a different sound, but different for him sounds like what everybody else is doing in the dance music world.
Still, having Minaj sing makes the tune worthwhile, even if “sing” must be used in quotes because of all the voice-processing."
Al Fox of BBC Music wrote that "the best results come when Guetta mercilessly rips artists from their comfort zone – take Minaj in songbird mode on 'Turn Me On."
Allmusic's David Jeffries wrote that "Nicki Minaj does a pole dance on the operating table for 'Turn Me On', while picking it as one of the best tracks on the album.
Carol Cooper of Village Voice gave a review talking about her voice, writing that "on "Turn Me On" Nicki Minaj gamely shifts between her Madonna range and her Rihanna register."
Ken Capobianco somewhat echoed the same thought of Cooper, writing that " Nicki Minaj delivers solid singing on the track.
"Joe Copplestone of PopMatters wrote a mixed review, saying that "the song showcases a suspiciously melodic performance by Minaj, with massive hooks that somehow let her make the transition from freak to diva."
Harley Brown of Consequence of Sound thought that the "skipping beat and screaming synths are more recognizable as quintessential techno."
Genevieve Koski of The A.V.
Club was more negative, writing that on the song Minaj is a "faceless-disco-diva."
Another negative review came from Idolator's Becky Bain, who dismissed "Guetta’s decision to take one of the most exciting rapper’s today and not only have her not rap, but drown her in Auto-Tune."
Hazel Bergeron is Harrison's mother and George's wife.
Hazel has perfectly average intelligence, which means that she cannot think deeply about anything.
However, she is a well intentioned character, a loving wife and mother, who tries to comfort her husband by suggesting he removes his handicap weights.
She cries when she sees what happens to her son but her brain does not allow her to recall what she was crying about.
In the end all her kindness counts for nothing as her stupidity outruns her good intentions.
Hazel has much in common with the Handicapper General, Diana Moon Glampers.
This seems to symbolize that America is ruled by persons of average intelligence, a comment on the competence of those running government. 
It should be noted that the artists listed below (with the exception of Madonna, David Guetta and Calvin Harris, who all crossed over from Dance and continue to be core artists in that genre) are Pop and/or Rhythmic acts; their singles were remixes of the original recordings: 
Thierry Guetta is a French immigrant living in Los Angeles, making a comfortable living with his vintage clothing shop.
He also has a strange obsession with carrying a camera everywhere he goes, constantly filming his surroundings.
On a holiday in France, he discovers his cousin is Invader, an internationally known street artist.
Thierry finds this fascinating, and accompanies Invader and his friends, including the artists Monsieur André and Zevs on their nocturnal adventures, documenting their activities.
A few months later, Invader visits Thierry in LA, and arranges a meeting with Shepard Fairey.
Thierry continues filming Fairey's activities even after Invader has returned home to France.
While Fairey is confused by Thierry's enthusiasm, Thierry states that he wishes to make a complete documentary about street art, and the two cross the nation, shooting other artists at work, including Seizer, Neck Face, Sweet Toof, Cyclops, Ron English, Dotmasters, Swoon, Azil, Borf and Buffmonster.
What Guetta fails to tell Fairey is that he has no plan to compile his footage into an actual film, and indeed never looks at his footage.
Guetta continues to hear more about Banksy – a prominent and particularly secretive artist.
His attempts to contact Banksy meet with failure, until one day Banksy visits LA without his usual accomplice, who is refused entry to the US.
Stuck in LA without a guide, Banksy contacts Fairey, who calls Guetta.
Guetta becomes Banksy's guide in LA, later following him back to England, winning the privilege to film Banksy on his home turf – a feat that confuses Banksy's crew.
Banksy, however, sees the opportunity to document street art, which he recognizes as having a "short life span", and after Guetta aids him in recording both production, deployment and crowd reactions to his "Murdered Phone-box" piece, asks him to film the preparations for his "Barely Legal" show.
The two become friends, as Guetta provides Banksy with some relief from his anonymity.
Returning to LA, Guetta becomes bored, and eventually ends up producing his own stickers and decals and putting them up in the city.
Banksy's show is being prepared in Skid Row, Los Angeles, and while in LA, Banksy has the idea of deploying a Guantanamo Bay detainee doll in Disneyland.
He visits the location and places the doll while Guetta films.
A short while later, however, the rides stop, and the park's security catch Guetta, who is taken to an interrogation room, while Banksy switches clothes and blends into the crowd.
During interrogation, Guetta refuses to admit any wrongdoing, and when allowed a phone call, covertly alerts Banksy to his situation.
When confronted by security personnel, he destroys the evidence in his stills camera, but stashes the videotape in his sock and is eventually let go, much to the amazement of Banksy who then says he trusts him implicitly because of the incident.
A few days later, "Barely Legal" opens, and becomes an overnight mainstream success.
Street art prices begin to rocket in auction houses.
Banksy is both surprised and disillusioned by the sudden hype surrounding street art, and urges Guetta to finish his supposed documentary.
Guetta begins to edit together the several thousand hours of footage, and produces a film titled "Life Remote Control."
The result is 90 minutes of distorted fast cutting about seemingly random themes.
Banksy questions Guetta's ability as a filmmaker, deeming his product "unwatchable", but realizes the street art footage itself is valuable.
Banksy decides to have a shot at producing a film himself.
To make sure that Guetta remains occupied, Banksy suggests he make his own art show.
Guetta happily accepts the assignment, adopting the name "Mr. Brainwash", putting up street art in the city and six months later, re-mortgaging his business to afford renting copious equipment and a complete production team to create pieces of art under his supervision.
He rents a former CBS studio to prepare his first show, "Life Is Beautiful", and scales up his production to something much larger than Banksy suggested, but with little focus.
When Guetta breaks his foot after falling off a ladder, Banksy realises that the show may well become a trainwreck, and sends a few professionals to help Guetta out.
While the producers take care of the practical side of the show, Guetta spends his time on more publicity, asking support from both Fairey and Banksy, eventually taping up huge billboards with their quotes, and ultimately ending up on the cover of "L. A.
Weekly."
Preparation is seriously behind schedule, and Guetta's production team insists that he must make decisions — yet Guetta spends his time hyping up and marketing his work for tens of thousands of dollars.
Eight hours before the opening, paintings are still missing from the walls, and since Guetta is busy giving interviews, the eventual layout of the show is decided by the crew itself.
Despite all this, however, the show becomes a raging success with the crowd, and after the first week of the show, Guetta sells almost a million dollars worth of art, with his pieces showing in galleries all around the world, to the utter confusion of both Fairey and Banksy.
In an ending montage, Guetta insists that time will tell whether he is a real artist or not. 
"Night of Your Life" was written by Cristyle Johnson, Anthony Preston, David Guetta and Giorgio Tuinfort, whilst production of the song was helmed by Guetta and Tuinfort.
In an interview with Akshay Bhansali of MTV News, Guetta revealed that he did not know Hudson before collaborating on the song, saying, "I had heard her voice and I fell in love with it.
It's a difficult song.
You need a really big voice to be able to perform that song.
I was like, 'Whoa!'
She obviously has an amazing voice, and I think it was a really interesting exercise for her and for me."
Guetta further explained that when he collaborates with artists, he likes to "take them out of their boxes", and creating a dance record with Hudson was "really exciting" for him.
On working with Hudson, he said, "She is beautiful in every way: as a person, as a singer, as a human being.
She delivered [the song like crazy."
"Night of Your Life" was released for digital download on August 22, 2011, as the third and final promotional single from the album, as part of the iTunes Store's countdown to the album's release.