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Goo

Goo or GOO may refer to: For more details, see the respective sections below.

General meaning

Definition and properties

Goo is defined as a thick, sticky, viscous, or semi-liquid substance that is often perceived as messy or unpleasant, encompassing materials such as , , or residues. This term typically denotes any soft, pliable matter with a that resists easy , distinguishing it from more liquids. Key physical properties of goo include high , which measures its resistance to due to strong intermolecular forces, and pronounced adhesiveness that causes it to cling to surfaces upon contact. Some forms exhibit non-Newtonian behavior, where changes under applied stress—for instance, shear-thickening mixtures like , a cornstarch-water that solidifies under pressure while flowing freely otherwise. These characteristics often evoke associations with in contexts like or , though playful applications, such as in children's toys, highlight a contrasting appeal. The term emerged in early 20th-century , with the first recorded uses around 1900 describing sticky materials like or in informal speech. In modern usage, goo appears in everyday scenarios involving cleaning products that leave viscous residues or foods like melted cheese, which form a stretchy, mass when heated. Sensory experiences of goo vary: visually, it may appear opaque, like , or translucent, as in clear ; tactilely, it feels sticky and resistant to the touch, often requiring effort to remove; and olfactorily, it is typically odorless in synthetic forms but can carry foul smells in instances, such as decaying . Related terms like or ooze share similar viscous traits but imply denser or slower-moving consistencies.

Etymology and usage

The word "goo" originated as in the early , with the earliest attested uses appearing around to describe a sticky or viscous substance. It is likely derived from "," a nautical term for thick dating to 1787, possibly shortened and adapted to evoke the of semiliquid matter, or alternatively from an alteration of "glue" or onomatopoeic imitation of squelching sounds. The term's first known printed appearance in this sense occurred in , marking its entry into broader colloquial usage. Over the early , "goo" evolved from denoting literal sticky materials to figurative applications, particularly by the , where it described overly sentimental or mawkish emotions, as in "sentimental goo." This shift reflected influences from children's language, where simple, imitative words for messy substances lent themselves to metaphors for emotional excess, with "gooey" emerging around 1905–1910 to specifically connote cloyingly romantic or effusive sentiment. By the , such usages had become commonplace in informal speech and writing to critique maudlin content. In literature, "goo" appears prominently in children's works, such as Dr. Seuss's (1949), where it refers to a falling, adhesive green substance causing chaos, and Fox in Socks (1965), featuring the Goo-Goose character that chews "blue goo." Everyday speech employs it for messes like "goo on the floor," while idiomatic expressions include "goo-goo eyes," dating to the early 1900s and derived from "goggle" to mean infatuated gazing, as popularized in the 1923 song "Barney Google (with the Goo-Goo-Googly Eyes)." Regional variations exist outside ; in some British dialects, particularly West Midlands or Irish-influenced , "have a goo" means "take a look" or "have a try," stemming from a 19th-century phonetic variant of "go," unrelated to the sticky .

Arts and entertainment

Music

In music, "Goo" has appeared as a title for notable albums and songs across genres, often evoking themes of experimentation, intimacy, or transformation. The most prominent example is the 1990 studio album Goo by the American band , released on June 26 by . This sixth full-length release marked the band's major-label debut and featured a tracklist blending with pop sensibilities, including the standout "Tunic (Song for Karen)," a tribute to artist . Critically acclaimed as a milestone in for its innovative and satirical , Goo achieved commercial success, selling over 200,000 copies by the end of 1990 and peaking at number 96 on the , the band's highest chart position at the time. Another direct reference is the song "Goo" by singer-songwriter , the second track on his debut studio album Baka no Uta, released on June 23, 2010, via Kakubarhythm. The track's lyrics explore the tender intimacy of waking up beside a loved one, capturing moments of quiet romance and everyday connection with a calm, acoustic-driven pop sound. While the album itself charted at number 36 on the in , reflecting Hoshino's early breakthrough in the scene, the song "Goo" contributed to the record's reputation for its lonely yet heartfelt tone. The American rock band Goo Goo Dolls, formed in Buffalo, New York, in 1986, draws its name from an advertisement in a True Detective magazine for a toy called a "Goo Goo Doll," adopted after a club owner rejected their original moniker, the Sex Maggots. Initially rooted in punk and hardcore influences, the trio evolved toward alternative and pop-rock over the years, achieving mainstream success with their fifth studio album A Boy Named Goo, released on March 14, 1995, by Warner Bros. Records. The album, which sold over two million copies and earned double-platinum certification, highlighted this shift with tracks like the introspective hit "Name," blending raw energy with melodic hooks to reach number five on the Modern Rock Tracks chart. Among other tracks featuring "Goo," ' "Goo Goo Muck" stands out as a 1981 garage punk cover on their album , reinterpreting a 1962 about nocturnal transformation into a monster with raw, flair.

Film, television, and characters

In the claymation series , which aired from 1956 to 1969, Goo is depicted as a blue, flying mermaid-like character who serves as a companion to the main cast, particularly protective of the yellow dragon Prickle. Goo embodies an easygoing and jolly personality, often using her wings to fly and spitting balls of goo at adversaries, as seen in episodes like "The Blue Goo," where she aids Prickle by blinding the during an aerial confrontation. Her amorphous, fluid form highlights themes of flexibility and connection to nature, contrasting Prickle's rigid demeanor and contributing to the show's whimsical adventures involving mischief and problem-solving. In video games, "goo" appears as a central interactive element in , a 2008 physics-based puzzle game developed by independent studio 2D Boy. Players construct structures using sticky black goo balls, which attach to each other and surfaces to navigate levels influenced by and environmental challenges, emphasizing creative building mechanics across five themed chapters. The game's innovative use of goo as a malleable resource helped pioneer indie puzzle design, earning acclaim for its artistic visuals and accessibility on platforms like Windows and . Goo-like substances feature in brief segments of children's television, particularly through slime-based antics in Nickelodeon programming from the 1980s onward, such as You Can't Do That on Television and Double Dare, where participants are doused in green, viscous material during game show challenges. These gooey elements, often symbolizing playful messiness, became a hallmark of kids' entertainment, appearing in interstitials like Slime Time Live to bridge cartoon blocks and engage young audiences. The portrayal of goo in these media has influenced stop-motion animation techniques, with Gumby's claymation legacy inspiring flexible character designs in later productions, and 's success catalyzing the indie gaming movement by demonstrating how simple, goo-centric mechanics could drive commercial and critical viability.

People

Athletes and coaches

Eugene "Goo" Kennedy (1949–2020) was an American professional basketball player who competed in the American Basketball Association (ABA) during the 1970s. Born in Charlotte, North Carolina, Kennedy played college basketball at Texas Christian University (TCU) for one season in 1970–71, where he earned Southwest Conference Player of the Year honors and led the team in scoring and rebounding. Drafted by the Portland Trail Blazers in the ninth round of the 1971 NBA Draft, Kennedy instead signed with the ABA's Dallas Chaparrals, beginning a five-year professional career that included stints with the Dallas Chaparrals (1971–73), San Antonio Spurs (1973–74), Spirits of St. Louis (1974–75), and Utah Stars (1975–76). Over 301 ABA games, he averaged 8.5 points and 5.9 rebounds per game, with a career-high 12.5 points per game in 1972–73. Kennedy was selected to the ABA All-Rookie First Team in 1971–72 after posting 8.6 points and 7.5 rebounds as a rookie, and he appeared in 32 NBA games with the Houston Rockets in 1976–77 before retiring. He was inducted into the TCU Athletics Hall of Fame in 2003 for his contributions to Horned Frogs basketball. Ah Chew Goo (1918–2015) was a pioneering American basketball player and coach renowned for his exceptional ballhandling and contributions to the sport in Hawaii. Born in Hilo, Hawaii, Goo starred at Hilo High School in the 1930s, leading the Vikings to three territorial championships and gaining fame for his ambidextrous dribbling skills that captivated audiences across the islands. After high school, he played with traveling Hawaiian all-star teams in the mainland United States until retiring from competitive play in 1940, forgoing college or professional opportunities to focus on local development. Goo later served as head coach of the University of Hawaii men's basketball team from 1954 to 1957, compiling a 31–46 record while emphasizing innovative techniques that influenced future generations. His legacy as an Asian American trailblazer in athletics earned him induction into the Hawaii Sports Hall of Fame in 1978, and the University of Hawaii continues to honor him with the annual Ah Chew Goo Most Inspirational Player Award. Goo also coached high school teams in Hawaii, promoting basketball accessibility in underserved communities until well into his later years. While other individuals surnamed Goo have participated in sports at local or collegiate levels, such as soccer player Skyler Goo at the , the most prominent figures remain and Goo for their verified impacts on professional and pioneering achievements.

Entertainers and artists

(1991–2019) was a prominent South Korean singer, actress, and idol best known as a member of the girl group KARA. Born on January 3, 1991, in , she joined KARA in 2008 following the group's initial debut, contributing to their rise in popularity with hits like "Mister" and international success in . As part of KARA, Hara performed at major events, including the , where the group received recognition for their contributions to . She left the group in 2015 amid personal challenges but launched a solo career that year with the EP Alohara (Can You Feel It?), which charted on South Korean music platforms and showcased her vocal and dance abilities. Hara also appeared in television dramas such as (2011) and variety shows, enhancing her visibility in the entertainment industry. Hara's career was marked by controversies, including a 2018 legal battle with an ex-boyfriend who leaked an intimate video, leading to widespread and public scrutiny of her personal life. She openly discussed her struggles with in a 2019 Instagram post, highlighting the intense pressures faced by idols. Tragically, Hara died by on November 24, 2019, at age 28 in , an event that sparked national conversations about , , and the exploitative aspects of the industry. Her death, coming shortly after fellow idol Sulli's, prompted reforms in , including stronger anti-cyberbullying laws and increased support for entertainers' well-being. Posthumously, KARA reunited in her honor at the 2022 Mnet Asian Music Awards, performing a that underscored her lasting influence. Goo Hye-sun (born November 9, 1984) is a versatile South Korean actress, director, painter, and writer who gained fame through her multifaceted artistic endeavors. She debuted as an actress in the 2006 drama Pure in Heart but achieved widespread recognition with her lead role as Geum Jan-di in the 2009 romantic comedy Boys Over Flowers, a hit adaptation of the Japanese manga that boosted her to stardom and earned her several awards, including the SBS Drama Awards New Star Award. Hye-sun expanded into directing early in her career, helming her first short film The Seer and the Sea (also known as Magic) in 2009, which screened at the Puchon International Fantastic Film Festival and explored themes of illusion and reality. She continued with feature films like The Peach Tree (2011), a poignant drama about love and memory that she wrote and directed, and Daughter (2014), where she also starred, focusing on familial bonds and personal growth. Beyond acting and filmmaking, Hye-sun has pursued visual arts and literature, establishing herself as a painter with solo exhibitions worldwide. Her 2009 debut exhibition in Insadong, Seoul, featured 40 illustrations tied to her novel Tango, a coming-of-age story she wrote during the filming of Boys Over Flowers. Subsequent shows, such as "Dark Yellow" in 2017, used bold colors and abstract forms to convey emotional turmoil and resilience, reflecting her personal experiences with public criticism. In 2018, she held a solo exhibition in Paris titled "After Image," displaying 25 abstract pieces exploring human emotions through lines and hues. Hye-sun's writing extends to screenplays for her films and essays on art and life, as discussed in recent interviews where she describes her creative process as interconnected across mediums. In September 2025, she established a venture company and became its CEO, launching a hair roller business as part of her expansion into entrepreneurship and invention. While other individuals surnamed Goo have appeared in minor acting roles in South Korean media, such as supporting parts in dramas and films, Hara and Hye-sun remain the most prominent figures in entertainment with the surname.

Politicians and merchants

Goo Arlooktoo (November 28, 1963 – April 30, 2002) was a Canadian who represented the Baffin South in the from 1999 until his death. Elected in the territory's inaugural general election, he quickly rose to prominence as a cabinet minister, holding portfolios including Minister of Justice, Minister of Community and Government Services, and Minister Responsible for the Board. Arlooktoo was recognized for his leadership in promoting tailored to Inuit cultural contexts, notably during workshops in where he facilitated discussions on applying international standards to Nunavut's unique social challenges. His advocacy extended to , emphasizing the creation and sustainability of Nunavut's self-governing institutions following the . Goo Kim Fui (1835–1908) was a leading merchant, community leader, and philanthropist who immigrated from Meixian District in Guangdong Province, , to , where he established the trading firm Goo Kim & Co. in . As a key figure in the diaspora, he served as president of the Chinese United Society (also known as the United Chinese Society), advocating for Chinese immigrants amid discriminatory policies like the . Fui's philanthropy included significant contributions to and , such as funding the construction of the Chinese Mission Home and supporting initiatives for the Chinese community in . His efforts helped foster economic and social stability for Chinese settlers in the Pacific region through trade networks spanning and the . Merchants bearing the surname Goo in historical communities, particularly among immigrants in the Pacific and , often combined commerce with and political influence to support their ethnic enclaves. These figures typically built trading enterprises that facilitated exchange while funding community institutions like schools and welfare organizations, leaving enduring legacies in local governance and social welfare systems. For instance, Goo Kim Fui's model of leadership influenced subsequent generations of merchants in advancing immigrant rights and .

Science and technology

Computing and internet

Goo is a Japanese web portal and operated by NTT Resonant, a subsidiary of . Launched in March 1997 by Corporation (NTT) as a trial robot-type keyword search service, it emerged as one of Asia's pioneering portals amid the continent's burgeoning online adoption in the late 1990s. The platform expanded into a multifaceted service hub, incorporating features such as Goo Mail for web-based email and news aggregation via tools like the Goo News app, which curates personalized content from thousands of keywords. During the , Goo reached its peak popularity in Japan, serving as a key entry point for users before the global rise of competitors. By 2015, it handled one billion monthly page views, underscoring its scale within the NTT Group's ecosystem. Goo's search functionality relied on integration with 's core engine, enhancing its capabilities while reflecting broader industry consolidation. As captured around 65-70% of Japan's search market by the mid-2010s, Goo's prominence waned, relegating it to a niche role focused on specialized services like forums (Oshiete!goo) and mobile apps. In October 2025, NTT Resonant announced the portal's discontinuation on November 25, 2025, with Goo Mail following on February 25, 2026, concluding nearly 29 years of operation amid shifting digital landscapes.

Biology and natural sciences

In the , particularly in , the fish (Aplodinotus grunniens) is regionally known as "goo" or "gou," a colloquial term derived from the Cajun French name "gaspergou." This species is the only North American member of the drum family () native to freshwater systems and inhabits large rivers, reservoirs, and lakes across the basin, from the to the . Adults typically measure 12 to 20 inches in length and weigh 2 to 10 pounds, though they can grow up to 95 cm and exceed 50 pounds in exceptional cases, with the world record at 54 pounds 8 ounces from , . Ecologically, goo fish play a role as bottom-feeders, consuming mollusks, , and small fish, which helps control populations in their habitats. In culinary traditions, the firm white flesh of the goo is valued for dishes like stews and gumbos, often prepared by filleting and frying or stewing to mask any muddy flavors from riverine diets. Slime molds, a group of protists including species like and , exhibit goo-like structures during their plasmodial stage, where they form amorphous, viscous masses of that creep across decaying wood or soil to forage on and fungi. These organisms, neither fungi nor animals, demonstrate remarkable problem-solving behaviors, such as optimizing nutrient paths in lab mazes, despite lacking a . Bacterial biofilms, similarly described as slimy or gooey matrices, consist of microbial communities embedded in extracellular polymeric substances that adhere to surfaces in natural environments like river rocks or plant roots, providing protection against and predators while facilitating nutrient exchange. In aquatic and terrestrial ecosystems, these biofilms contribute to biogeochemical cycles by breaking down and influencing microbial diversity. Viscous substances in nature, such as the gelatinous coatings surrounding eggs (frogspawn), serve critical ecological functions by maintaining moisture, deterring predators, and supplying nutrients to developing embryos. For instance, many species deposit eggs in jelly-like clumps in shallow waters, where the gooey matrix—composed of proteins and carbohydrates—absorbs water to prevent and may contain compounds to reduce risks. This protective role underscores the adaptive significance of such structures in across habitats. The "" scenario represents a hypothetical existential risk in natural sciences, where self-replicating molecular nanobots could uncontrollably consume to replicate, potentially converting Earth's into an undifferentiated . Coined by engineer in his 1986 book , this concept highlights concerns at the intersection of and , emphasizing the need for safeguards in to prevent unintended ecological disruptions.

Languages and linguistics

Spoken languages

The Goo language (ISO 639-3: gov), also known as Goo Mande, is a South Mande language within the Niger-Congo family, spoken primarily in the western regions of Côte d'Ivoire, particularly in the Dix-Huit Montagnes district. It is closely related to neighboring languages such as Toura and but remains mutually unintelligible with them, forming part of the Western Mande subgroup. Estimates place the number of speakers at approximately 7,000 to 8,000, primarily in rural communities where it serves as the primary . Linguistically, Goo features a rich tonal system with five contrastive tones—extra-high, high, mid, low, and extra-low—used to distinguish lexical meaning, alongside nasalization and advanced root (ATR) affecting vowels like /e/ and /o/ in their [-ATR] forms. is characterized by aspectual constructions, including habitual, , and perfect forms, often marked through pronominal clitics and tonal modifications rather than extensive affixation; for example, pronouns integrate directly with verbs to convey tense-aspect-mood categories. Documentation efforts remain limited but include guides, short texts such as folktales, and scholarly analyses of verbal , with key contributions from researchers like Valentin Vydrin in publications from 2013 to 2017. The (ISO 639-3: goo) is an East Fijian language belonging to the , spoken by a small community on the islands of Galoa and Tavea off the western coast of in . It is part of the subgroup and shares typological features with other Fijian languages, such as prenasalized consonants and a VSO in certain constructions, though specific phonological inventories include distinctive nasal vowels and glottal stops. The language has approximately 500 speakers as of the early and is considered stable or vigorous, though it lacks formal or institutional support. Documentation is sparse, with primary resources limited to basic lexical lists and comparative studies within Fijian linguistics, highlighting its role in broader Austronesian possessive marker systems.

Onomatopoeic and informal expressions

In , "goo goo" serves as an onomatopoeic representation of , first documented in English in 1853 as a of the repetitive, vowel-consonant sounds produced by babies during early stages. This expression, often extended to "goo goo ga ga," captures the nonsensical yet foundational utterances that infants use to experiment with around 4-6 months of age, aiding in the development of articulatory skills essential for later speech. In parenting contexts and popular media, such as children's books and television, "goo goo ga ga" has become a stereotypical for , reinforcing its cultural role in depicting communication. Beyond , "goo" features in informal English expressions with onomatopoeic or imitative qualities. The phrase "goo-goo eyes," denoting a flirtatious or adoring gaze, emerged around 1900 in , likely deriving from the reduplicated, soft sounds evoking affection or googly stares. This , popularized in early 20th-century and songs, illustrates how onomatopoeic elements can convey through phonetic of tender or exaggerated expressions. Culturally, "goo goo" appears in as an onomatopoeic to evoke or . Psychologically, these sounds play a critical role in by helping infants practice prosody and formation, with studies showing that such universal patterns—like "goo-goo"—facilitate neural pathways for across languages. This imitative vocal play not only builds motor control in the vocal tract but also encourages interaction, accelerating the transition to meaningful words.

Other uses

Brands and products

Shoe Goo is a flexible and primarily used for repairing , developed in 1972 by shoe repairman Harry Howland and marketed by Eclectic Products, based in . It bonds materials such as , rubber, , and , providing waterproofing and abrasion resistance suitable for fixing worn soles, damaged heels, and sealing items like or boots. The product's rubber cement-like composition allows it to remain flexible after curing, making it applicable beyond shoes to crafts, automotive repairs, and outdoor gear. The , introduced in 1912 by the Standard Candy Company in , is recognized as America's first combination . It consists of a mound of and covered in and topped with roasted , offering a textured, chewy confection that became a cultural staple in the . Produced continuously since its , the candy has maintained its original recipe and is celebrated for its role in early 20th-century innovation. Goo Gone, invented in 1984 by Magic American, is a commercial cleaner designed to dissolve sticky residues from adhesives, gum, grease, and similar substances without damaging underlying surfaces. Available in liquid and forms, it effectively removes markers, crayons, stickers, and from hard surfaces, fabrics, and , positioning it as a versatile household product for maintenance tasks. Among lesser-known products, Goo Ball toys encompass sensory items like the Super Goo Balls and Gooballz, which are squishy, mesh-covered balls filled with a silky, non-toxic for tactile play and relief, targeted at children and adults for or therapeutic use. These toys, often in vibrant colors and approximately 2.5 inches in diameter, promote sensory development without spilling.

Acronyms and certifications

The Guarantee of Origin (GoO), often abbreviated as GO or GOO, is an electronic certificate established under European Union law to verify that a specific quantity of energy, typically 1 MWh, has been produced from renewable sources. Introduced by Directive 2001/77/EC on the promotion of electricity produced from renewable energy sources, the GoO specifies details such as the energy source, production period, geographic location, and installed capacity of the generating facility, enabling producers and suppliers to demonstrate compliance with renewable energy claims to final customers. Its primary role is to support transparency in green energy trading without granting rights to national support schemes, and it must be issued and tracked to prevent double counting. Member States are required to designate independent competent bodies for issuing GoOs, ensuring objective, transparent, and non-discriminatory processes supervised to minimize fraud. These certificates are transferable across countries, with mutual recognition mandated unless justified doubts arise regarding validity, facilitating cross-border trade in attributes. The system was expanded by the Renewable Energy Directive 2009/28/EC to cover not only electricity but also heating and cooling from renewables, with GoOs valid for use within 12 months of issuance. Further refinements in Directive (EU) 2018/2001 maintain the framework while emphasizing digital issuance and integration with broader sustainability reporting. Internationally, equivalents to the EU GoO include in the United States, which serve a similar verification function for renewable and are tracked through registries like those managed by the North American Energy Standards Board. In the post-Brexit, operate analogously, issued by to certify renewable sources. Globally, International RECs (I-REC) provide a standardized alternative in over 60 countries lacking local systems, ensuring traceability under the International REC Standard. Compliance with GoO standards in the sector involves adherence to EU-wide protocols for issuance, cancellation, and , with authorities handling operations to support the EU's renewable targets.

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