input: Geisel's early artwork often employed the shaded texture of pencil drawings or watercolors, but in his children's books of the postwar period, he generally made use of a starker medium--pen and ink--normally using just black, white, and one or two colors. His later books, such as The Lorax, used more colors.  Geisel's style was unique - his figures are often "rounded" and somewhat droopy. This is true, for instance, of the faces of the Grinch and the Cat in the Hat. Almost all his buildings and machinery were devoid of straight lines when they were drawn, even when he was representing real objects. For example, If I Ran the Circus shows a droopy hoisting crane and a droopy steam calliope.  Geisel evidently enjoyed drawing architecturally elaborate objects. His endlessly varied but never rectilinear palaces, ramps, platforms, and free-standing stairways are among his most evocative creations. Geisel also drew complex imaginary machines, such as the Audio-Telly-O-Tally-O-Count, from Dr. Seuss's Sleep Book, or the "most peculiar machine" of Sylvester McMonkey McBean in The Sneetches. Geisel also liked drawing outlandish arrangements of feathers or fur: for example, the 500th hat of Bartholomew Cubbins, the tail of Gertrude McFuzz, and the pet for girls who like to brush and comb, in One Fish, Two Fish, Red Fish, Blue Fish.  Geisel's illustrations often convey motion vividly. He was fond of a sort of "voila" gesture in which the hand flips outward and the fingers spread slightly backward with the thumb up. This motion is done by Ish in One Fish, Two Fish, Red Fish, Blue Fish when he creates fish (who perform the gesture with their fins), in the introduction of the various acts of If I Ran the Circus, and in the introduction of the "Little Cats" in The Cat in the Hat Comes Back. He was also fond of drawing hands with interlocked fingers, making it look as though his characters were twiddling their thumbs.  Geisel also follows the cartoon tradition of showing motion with lines, like in the sweeping lines that accompany Sneelock's final dive in If I Ran the Circus. Cartoon lines are also used to illustrate the action of the senses--sight, smell, and hearing--in The Big Brag, and lines even illustrate "thought", as in the moment when the Grinch conceives his awful plan to ruin Christmas.

Answer this question "What else was significant about his drawing style?"
output: Geisel's style was unique - his figures are often "rounded" and somewhat droopy.

Question: Born into a Bosniak family near Tuzla, SR Bosnia and Herzegovina, she grew up in Brcko, the youngest child of Abid Jahic (c. 1928 - 22 October 2010) and Ifeta (nee Smajlovic; 15 April 1934 - 21 November 2014). Both of her parents are originally from villages near Srebrenik; her father was born in Jezinac and her maternal family hailed from Cehaje. Fahreta grew up in a Muslim home with sister Faketa and brother Faruk. At the start of the Bosnian War in 1992, her sister Faketa escaped to Canada, where she lives today, while Brena stayed in Belgrade where she had been living since 1980.

1984 saw Brena and her band begin a cooperation with a new manager and producer, Raka Dokic. Bato, Bato, their third album, was released the same year. A new provocative image was accompanied by a new musical style, different from the one fostered by Popovic. Later that year, they held a concert in neighboring Romania, at the stadium in Timisoara to an audience of 65,000, what was at time among the most successful concerts of a Yugoslav musician outside their home country.  Their next three albums, Pile moje (1985) and Voli me, voli and Uske pantalone (both 1986) would propel her to the throne of the Yugoslav music scene. Along with these albums, Brena established a cooperation with Serbian folk star Miroslav Ilic and recorded a collaborative extended play Jedan dan zivota, which featured four songs, including a romantic duet called "Jedan dan zivota", and the song "Zivela Jugoslavija", which was received with a mixed response. The latter song was in line with Brena's only official political stance: an uncompromising support of a united Yugoslavia, with her becoming a symbol of this view. By the end of 1986, Lepa Brena had become the star of Belgrade social jet-set, and the most successful public figure in Yugoslavia.  Brena's manager Raka Dokic came up with the idea that her seventh studio album should be followed by a movie in which she would play the lead role. This idea was successfully implemented in 1987 when the motion picture Hajde da se volimo was filmed. The movie had the same name as the album. Many then-popular Yugoslav actors co-starred in the film, including Dragomir Gidra Bojanic, Milutin Karadzic, Velimir Bata Zivojinovic, Milan Strljic, etc. During the premiere of the film on 24 October 1987, Brena met her future husband, Serbian tennis star Slobodan Zivojinovic.  Based on the success of the original, two sequels were produced: Hajde da se volimo 2 (1989) and Hajde da se volimo 3 (1990), which was followed by the studio album Boli me uvo za sve. Boli me uvo za sve also had multiple hit songs including "Cik pogodi", "Bice belaja", "Tamba Lamba", and the title track. Their eighth studio album Cetiri godine was released on 1 October 1989 and contained the controversial song Jugoslovenka with Bosnian rock musician Alen Islamovic. The music video for the pop-folk song Cuvala me mama was filmed on the Croatian island Lopud.  Lepa Brena and Slati Greh held more than 350 concerts yearly, and would often hold two concerts in one day. They set a record by holding thirty-one concerts consecutively at Dom Sindikata, and seventeen concerts consecutively at the Sava Center. On 24 July 1990, Brena was lowered with a helicopter at Levski stadium in Sofia, Bulgaria, and held her then-most-attended concert with an audience of 110,000 people. While she was in Bulgaria in July 1990, she met with the Bulgarian mystic Baba Vanga.

Using a quote from the above article, answer the following question: What is Bato?
HHHHHH
Answer:
their third album,