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Slime

Slime refers to any moist, sticky, and viscous substance, often with a slippery or gelatinous consistency, such as , , or ooze. In , it occurs in biological contexts like the secretions of snails or the of biofilms and slime molds. Scientifically, slime exemplifies s whose changes under , studied in , physics, and . Slime also appears in , , and . A prominent modern use is as a children's , popularized by in 1976 as a green, squishy sold in plastic trash cans for sensory play. This slime, a viscoelastic , gained renewed popularity in the mid-2010s through DIY videos and content, sparking a "slime economy" of custom creations. On November 6, 2025, the was inducted into the at National Museum of Play in , alongside and .

Science and nature

Biology

In biology, slime refers to mucus or extracellular polymeric substances (EPS) secreted by various organisms, including animals, , and microorganisms, primarily serving functions such as protection against environmental threats, lubrication for movement, and facilitation of . These secretions form viscous layers that create barriers, aid in , or enable over surfaces, adapting to diverse ecological niches. In humans, mucus in the respiratory and digestive systems exemplifies protective slime, composed mainly of (approximately 95%) and glycoproteins that form a gel-like matrix to trap inhaled pathogens and facilitate their removal via . In the digestive tract, this layer lubricates food passage while shielding epithelial cells from mechanical damage and acidic conditions, preventing infections by binding microbes and promoting their expulsion. Gastropods, such as slugs and snails, produce pedal that enables efficient across rough or vertical surfaces by providing and temporary , reducing and allowing wave-like foot contractions to propel the animal without energy loss. This slime also offers protection against and predators in terrestrial environments. Slime molds, classified within the group , exhibit a distinctive featuring a plasmodial stage—a mobile, slime-like mass that engulfs food particles for nutrient absorption—before forming fruiting bodies to release spores. Historically, these organisms were misclassified as fungi in the due to superficial similarities in spore production, but 20th-century microscopy and genetic studies reclassified them as protists in the phylum, emphasizing their amoeboid motility and lack of chitinous cell walls. Bacterial biofilms, often described as "slime layers," consist of microbial communities embedded in a self-produced matrix, forming through initial attachment to surfaces, microcolony development, maturation into a structured , and eventual dispersion for elsewhere. These biofilms contribute to , such as dental where and other bacteria accumulate on teeth to cause caries, or on medical devices like catheters, where they resist antibiotics and immune responses, leading to persistent device-related . Evolutionary adaptations highlight slime's role in survival across environments; in aquatic settings, hagfish deploy slime rapidly as a defense by secreting vesicles containing threads that unravel and swell in water to form a suffocating net, clogging predators' gills and composed of proteins for tensile strength. In terrestrial contexts, slime in gastropods and plant-associated microbes (like in root mucilage) aids hydration retention and symbiotic interactions, contrasting with aquatic expansions but similarly enhancing resilience to or predation. These glycoproteins, such as mucins, underpin the viscous properties briefly noted here but analyzed molecularly elsewhere.

Chemistry

Slime substances, both natural and synthetic, are characterized by their polymeric compositions that confer viscoelastic properties. In synthetic slimes, commonly used in educational and toy contexts, the primary polymer is (PVA), derived from white school glue, which consists of long chains of repeating units. These chains are cross-linked by , or sodium tetraborate decahydrate (Na₂B₄O₇·10H₂O), which dissociates in water to form ions that bind to hydroxyl groups on adjacent PVA chains, creating borate ester linkages responsible for the material's elasticity. Alternative synthetic formulations employ , a natural polymer extracted from beans, which similarly cross-links with borate ions to form a gel-like network. Natural analogs of slime, such as biological , rely on mucopolysaccharides like , a composed of repeating units of D-glucuronic acid and N-acetyl-D-glucosamine, which provides and through its ability to bind large amounts of . Mucins, high-molecular-weight glycoproteins featuring a protein core rich in , , and serine residues heavily glycosylated with and other sugars, form the structural backbone of gels, enabling entanglement and cross-linking via electrostatic interactions and hydrogen bonding. These components, comprising up to 95% in native , create a viscoelastic matrix analogous to synthetic slimes but tailored for biological functions. The synthesis of toy slime has evolved since its commercial introduction by in 1976, initially using cross-linked with to produce a viscous, green substance sold in plastic containers. Modern PVA-based slime is prepared by first dissolving PVA glue (typically 4-8% PVA in water) in a container, often with added colorants or fillers for customization. A solution (4% in water) is then gradually added while stirring; the ions rapidly form di-diol complexes with PVA's hydroxyl groups, leading to gelation within minutes as cross-links propagate across polymer chains, resulting in a stretchy, . For instance, combining 40 cm³ of 4% PVA solution with 10 cm³ of 4% solution yields a homogeneous slime, with the reaction's elasticity arising from reversible bonds. Due to concerns over borax's potential skin irritation, borax-free alternatives have gained popularity, utilizing solutions containing (often 0.1-0.2%) as a milder cross-linker, combined with baking soda () to adjust and activate the borate. In this process, PVA glue is mixed with and baking soda to form a basic slurry ( ~8-9), followed by incremental addition of solution until cross-linking occurs, producing slime with comparable elasticity but reduced boron concentration. This method maintains the core borate-PVA chemistry while minimizing direct exposure to powdered borax. The stability of borax-cross-linked slimes is highly pH-dependent, with optimal cross-linking occurring at pH 7-9, where borate ions (B(OH)₄⁻) predominate and effectively form esters with PVA. At lower pH values (below 5), such as when exposed to acids like vinegar (acetic acid), protonation disrupts the borate esters, breaking cross-links and causing the slime to revert to a liquid state through hydrolysis. Conversely, strong bases (pH >10) can deprotonate the polymer chains excessively, weakening hydrogen bonding and leading to degradation or excessive brittleness, though the borate buffer inherently stabilizes the system around pH 9. Analytical techniques confirm the chemical structure of slimes by probing molecular interactions. Fourier-transform infrared (FTIR) spectroscopy identifies cross-linking through shifts in the O-H stretching band (from ~3300 cm⁻¹ in pure PVA to broader, lower-intensity peaks post-borax addition) and emergence of B-O vibrations around 1400-1100 cm⁻¹, verifying borate ester formation. Rheometry complements this by measuring viscoelastic moduli during gelation; for PVA-borax systems, the storage modulus (G') surpasses the loss modulus (G'') above a critical borax concentration, indicating a transition to a cross-linked network, thus confirming the extent of chemical bonding indirectly through mechanical response. These methods ensure rigorous characterization without invasive sampling.

Physics

Slime exhibits the properties of a shear-thinning , in which its decreases as is applied. This results in behavior where the material flows readily when squeezed or agitated but resists deformation under low or slow stress, maintaining a more solid-like consistency. Such characteristics arise from the polymeric network structure that temporarily aligns under force, facilitating easier flow. The rheological response of slime is commonly described by the Herschel-Bulkley model, which generalizes the model by incorporating a and nonlinear : \tau = \tau_0 + K \dot{\gamma}^{n}, where \tau is the , \tau_0 is the below which no occurs, K is the consistency index, \dot{\gamma} is the , and n < 1 is the behavior index indicating pseudoplastic (shear-thinning) behavior. This model captures the observed in slime (from the Bingham component, where n=1 and K = \eta_p) and the post- shear-thinning regime where drops nonlinearly with increasing , providing an empirical fit to the relationship between and . Experimental investigations of slime's properties often employ rotational viscometers to measure flow curves, revealing a rest typically ranging from $10^1 to $10^3 Pa·s, reflecting its gel-like that transitions to fluid flow under stress. A representative analog is , a cornstarch-water that demonstrates non-Newtonian under sudden impact, hardening momentarily despite its shear-thickening nature, which contrasts yet illustrates the broader class of complex fluid responses akin to slime's variability. In physics research, slime serves as a model system for exploring complex fluids and phenomena, including chaotic mixing dynamics and granular-like flows. Studies from the have utilized slime analogs to investigate and in viscoelastic materials, providing insights into chaotic advection during mixing processes and the between fluid and solid states in granular systems.

Technology and applications

Computing

In computing, SLIME (Superior Lisp Interaction Mode) is an Emacs extension designed for interactive development in , originating as an extension of the earlier SLIM mode created by Eric Marsden in mid-2003. Developed further as an open-source project by Luke Gorrie and Helmut Eller, SLIME integrates a read-eval-print loop (REPL) directly into , enabling seamless evaluation of code within the editor environment. Key features include auto-completion for symbols, , and tools such as the SLDB (SLIME Debugger) stepper, which allows stepping through code execution and inspecting variables. SLIME's evolution began with its initial release supporting CMU Common Lisp and has since incorporated integrations like Quicklisp for package management, facilitating easy loading of libraries during development sessions. By the , enhancements addressed performance issues, including the Sly initiated in 2018 by João Távora, which introduced a redesigned REPL based on Emacs's comint.el for better concurrency support and debugging utilities like "stickers" for code annotation. SLIME and its derivatives remain staples in symbolic computing and development, where 's expressiveness supports of algorithms in areas like and knowledge representation. Technically, SLIME communicates with Lisp implementations via the Swank server, a backend process that handles requests over a TCP connection, enabling features like remote evaluation and inspector views. Common commands include C-c C-c for compiling and evaluating the top-level form at point, and C-c C-k for loading entire files, streamlining the edit-compile cycle. Beyond Lisp environments, the term "slime" appears in computational simulations inspired by biological slime molds, such as algorithms mimicking Physarum polycephalum for pathfinding in robotics. These models approximate shortest paths by simulating protoplasmic tube formation, as demonstrated in a 2011 mathematical framework showing Physarum's ability to compute optimal routes between nodes. In swarm robotics, such algorithms enable decentralized exploration and network formation, where robot agents adapt paths based on virtual nutrient gradients, achieving efficiency comparable to biological foraging. Slime mold behaviors are also modeled using cellular automata (), discrete grid-based simulations that replicate growth and decision-making processes. For instance, CA rules can emulate Physarum's network optimization, where cells transition states to form fault-tolerant structures, as in models that solve transport problems through iterative neighborhood updates. Variants of incorporate slime-like growth patterns, such as diffusive expansion rules that produce amorphous, spreading entities in two-dimensional grids, useful for studying emergent computation in unconventional substrates.

Materials and engineering

In manufacturing, slime-like viscous materials, particularly silicone-based greases and oils, have been employed as lubricants and sealants to mitigate vibrations and ensure structural integrity in high-stress environments. For instance, NASA developed a lightweight tubular support strut in the 1960s that utilized silicone grease's viscous drag for damping vibrations in omnidirectional antennas and solar panels, a concept extended into 1980s projects for rotating machinery and power transmission systems. These materials provide hydraulic damping through squeeze-film mechanisms, with silicone oil of 80 centistokes viscosity achieving damping coefficients up to 8,750 N-s/m in test rigs for supercritical shafts. Additionally, silicone adhesives serve as sealants in aerospace applications, bonding dissimilar materials while damping launch vibrations due to their elastomeric properties. In and , slime-inspired designs leverage soft materials to enable fluid-like motion and adaptability. Slimebots, modular robots composed of magnetic particles, demonstrate shape-shifting capabilities for navigation through complex environments, combining solid and fluid properties for tasks like obstacle avoidance. At Harvard, researchers developed soft robotic systems around 2018 using elastomer actuators (DEAs), such as modular fin-like actuators for miniature autonomous vehicles that deform under for . These DEAs, often integrated with 3D-printed s, enable large deformations and self-sensing, facilitating applications in soft exosuits for enhanced mobility. In , "slime" refers to the fine fraction of —particles typically under 20 micrometers—generated during ore processing, posing significant environmental challenges. During the 19th-century rushes, such as in and , , produced vast slime deposits that caused river , , and , altering aquatic ecosystems and persisting as legacy pollution today. of these slimes involves and containment to mitigate and heavy metal leaching, with modern reprocessing techniques recovering residual while addressing historical impacts like mercury . Biomedical engineering utilizes hydrogels as artificial slime analogs for controlled and support, capitalizing on their and tunable . Alginate-based hydrogels, derived from , form gels through ionic cross-linking with calcium ions, creating an "egg-box" structure that enhances mechanical stability and moisture retention in dressings. These dressings, such as calcium alginate foams like Kaltostat™, absorb while releasing agents like silver ions, promoting re-epithelialization and reducing infection risk in chronic wounds. For , alginate hydrogels enable sustained release of therapeutics, such as simvastatin for regeneration, with uptake capacities reaching 90% to maintain a moist environment. Sustainability efforts in materials engineering focus on biodegradable slime-like formulations from natural sources to curb plastic pollution in packaging. Chitosan, derived from chitin in crustacean shells like shrimp (Aristeus antennatus), is processed into films and gels that degrade rapidly in soil or seawater, achieving 47-68% biodegradation within 28 days. When combined with starch fillers and castor oil plasticizers, these chitosan-based materials exhibit tensile strengths of 5.5-5.7 MPa and antimicrobial activity against pathogens like E. coli, making them viable for food packaging that reduces reliance on non-degradable plastics. This approach repurposes seafood industry waste, mitigating environmental impacts from shell discards while offering a compostable alternative with properties akin to conventional polymers.

Culture and media

Toys

Slime as a children's was first commercialized by in 1976, when the company introduced a neon-green, viscous putty sold in plastic trash cans as a non-toxic sensory play product made from and sodium tetraborate. Although distinct from earlier putty-like toys such as , which originated in the 1940s, 's version emphasized stretchy, gooey textures for molding and squishing. The gained widespread cultural recognition in the late 1970s and 1980s through Nickelodeon's use of green slime on the Canadian show on Television, which premiered in 1979 and featured the substance dumped on participants during comedic punishments, inadvertently popularizing it as a playful, messy emblem of fun. Slime's popularity surged globally in 2016, driven by the rise of (autonomous sensory meridian response) trends on , where videos showcasing the toy's tactile sounds and visuals amassed millions of views. Content creators like Karina Garcia produced DIY slime tutorials that contributed to over a million related videos by the late , boosting sales of base ingredients like glue and turning slime into a sensation among children and young adults. This peak reflected slime's appeal as an affordable, customizable toy that combined creativity with sensory satisfaction. Homemade slime production became a staple of the toy's accessibility, with common DIY recipes using white school glue as the primary base, mixed with baking soda for thickening and saline solution (containing ) as an activator to form the characteristic . These simple formulations, often enhanced with or , allowed families to create slime at home without specialized equipment. Safety concerns emerged prominently in 2018 when consumer advocacy groups and regulators highlighted risks from , a key ingredient in many recipes and commercial products, which can cause skin irritation, eye redness, and more severe effects like or issues if ingested or overexposed. This led to voluntary recalls of several slime kits exceeding safe limits, as tested by organizations like the U.S. , and prompted the FDA to issue guidelines emphasizing non-toxic formulations and warning labels for content to protect children during play. Variations of slime toys expanded creative options, including versions using phosphorescent pigments, scented types infused with essential oils for aromatic play, and magnetic slimes incorporating particles that respond to magnets for interactive manipulation. These adaptations appeared in educational kits, such as those from KiwiCo in the 2020s, which integrate slime-making with lessons on polymers and to foster hands-on learning about material properties. Fueled by social media platforms like , where viral challenges involving custom slimes drove demand for innovative kits and boosted sales among younger demographics, slime's trend underscored its enduring role as a low-cost, engaging that adapts to digital influences while maintaining its core appeal in sensory and creative play. On November 6, 2025, slime was inducted into the , honoring its contributions to imaginative play.

Fictional characters

In early 20th-century , the slime archetype emerged as an amorphous, otherworldly threat, exemplified by H.P. Lovecraft's 1927 short story "," where a unleashes a fluid-like alien entity that defies conventional form, infiltrating and mutating organic matter in rural . This concept gained cinematic prominence with the 1958 horror film The Blob, directed by Irvin S. Yeaworth Jr., featuring a massive, red gelatinous mass from that absorbs victims while expanding uncontrollably, symbolizing Cold War-era fears of unstoppable invasion. Notable slime characters span comedy and adventure genres, including Slimer from the 1984 film Ghostbusters, a green, blob-like specter made of ectoplasm who serves as a humorous, voracious antagonist turned ally, slime-bombing the protagonists in the Sedgewick Hotel. In the Dragon Quest video game series, slimes debuted in 1986 as bouncy, blue-eyed blob enemies, initially weak foes but evolving into endearing icons with expressive animations that emphasize their harmless, jelly-like wobble. The Ghostbusters franchise extended this legacy in 2021's Ghostbusters: Afterlife, introducing Muncher, a rail-thin, green ectoplasmic entity reminiscent of Slimer, who rampages through Summerville as a chaotic, Slimer-esque pest. Thematically, slimes often embody formlessness to evoke , as in the 2018 film , where the iridescent, mutable essence within the Shimmer zone—manifesting as shimmering, self-replicating fluids—represents existential dissolution and biological , mirroring themes of loss and inevitable transformation. Conversely, in fantasy narratives, slimes symbolize innocence and whimsy, such as in the 2010s webcomic Slime & Punishment by Ben Saint, featuring characters banished to a slime-themed dystopian that blends cuteness with satirical edge, portraying figures in absurd, relatable predicaments. Slime characters have evolved from purely villainous entities in B-movies, like the predatory , to beloved mascots in the 2020s, driving merchandise lines such as plush toys and apparel based on Dragon Quest slimes and Ghostbusters ectoplasm figures, reflecting a shift toward marketable, non-threatening archetypes in pop culture.

Music

Slime, a prominent rock band, was formed in 1979 in by singer Dirk Jora (Dicken), guitarist Michael Mayer, bassist Karl-Heinz Polauf, and drummer Christian Beat. The group emerged as a key force in the Deutschpunk movement, characterized by raw energy, fast tempos, and politically charged lyrics opposing , police brutality, and . Their debut album, Slime I (1981), marked a milestone as the first German punk record to be banned by authorities due to its provocative content, including tracks like "A.C.A.B." and "Legal Illegal". Follow-up releases such as Yankees Raus (1982) and Alle Gegen Alle (1983) solidified their influence, blending punk aggression with Oi!-style anthems that resonated across Europe's working-class youth scenes. The band's anti-fascist stance permeated their work, with slogans from early songs adopted by autonomous movements and protests in the , fostering a legacy of activist that inspired subsequent generations in and beyond. Slime disbanded in 1994 amid internal tensions but reunited sporadically starting in 2009, releasing albums like Sich Fügen Heißt Lügen (2012) and performing at festivals such as . Their cultural impact endures through compilations and live recordings, emphasizing 's role in social resistance without commercial compromise. Beyond the band, "slime" appears in various songs and genres, often evoking themes of , decay, or camaraderie. In , The Fuzztones' "Green Slime" (1984), an outtake from their Lysergic Emanations sessions, channels sci-fi horror with fuzzy guitars and psychedelic riffs, drawing from the of the same name. In and , "slime" evolved as for loyal friends or crew members, popularized by Young Thug's mixtape series—beginning with the 2015 original and continuing through Slime Season 3 (2016)—which integrated the term into Atlanta's trap lexicon via auto-tuned flows and booming 808s. This usage extended into the 2020s, as seen in Young Thug's "It's A Slime" featuring (2018), a high-energy track from the album that celebrates affiliation with slimy bravado. In experimental and , "slime" serves as a sonic descriptor for thick, oozing textures achieved through distorted pedals, field recordings, and modular synths, evoking organic fluidity. The 2010s saw this in Thee Oh Sees' album Warm Slime (2010), a psych-noise opus with swirling, viscous guitar layers and propulsive rhythms that blur garage punk and avant-garde boundaries. Similarly, compilations like Vacuum Noise Records' SLIME?COMP. (2019) feature international noise artists crafting amorphous, slime-like drones and feedback, prioritizing tactile immersion over structure. Film scores also employ slime motifs for tension; the 1968 soundtrack, composed by Fox and Toshiaki Tsushima, uses eerie strings, electronic pulses, and percussive squelches to underscore the film's monstrous, gelatinous invaders.

Video games

In video games, slimes frequently appear as a common enemy archetype, characterized by their gooey, amorphous forms and simple attack patterns. The slime debuted in the 1986 role-playing game , where it serves as the first enemy encountered by players, depicted as a small, blue, jelly-like creature that drops items such as medicinal herbs upon defeat. This design established slimes as low-threat foes ideal for introducing combat mechanics, a that persisted across the series and influenced similar enemies in other titles. A notable evolution of slime mechanics involves their behavior upon defeat, particularly the splitting mechanic seen in Minecraft since its full release in 2011. In this sandbox survival game, slimes are hostile, cube-shaped mobs that spawn naturally in swamp biomes during full moon nights or in specific underground "slime chunks," regardless of light levels up to 7. When killed, larger slimes divide into smaller ones, creating escalating encounters that reward players with slimeballs for crafting sticky pistons and leads, emphasizing resource-gathering through environmental interaction. Dedicated video games have centered slimes as core elements of gameplay, shifting from adversarial roles to collectible or protagonist figures. Slime Rancher, an indie first-person released in 2017 by Monomi Park, tasks players with capturing, feeding, and breeding colorful slimes on an extraterrestrial ranch to harvest their "plorts" for profit, blending exploration with low-stakes management. The title achieved commercial success, selling over 6 million copies across platforms by 2024. Similarly, That Time I Got Reincarnated as a Slime: Memories, a 2021 mobile 3D battle adaptation of the series developed by , incorporates slime transformation abilities into its combat system, allowing the protagonist Rimuru to absorb enemies and build a monster federation through RPG progression and story quests supervised by the original author. Innovations in slime representation include playable slime characters and advanced simulations. In the 2015 RPG Maker entry Slime Heart, players control a slime named Aqua navigating a romantic adventure in a forest village, using the character's gelatinous form for puzzle-solving and interactions that highlight themes of otherness. enhances slime dynamics in roguelikes like Noita (2019), where every pixel is physically simulated, including slime as an alchemical material that can be created by mixing and , exhibiting viscous spreading, fire-extinguishing properties, and hazardous effects like on contact. The have seen a in "slime-core" cozy games, a subgenre of relaxing titles emphasizing slime collection and care, aligning with broader trends in non-violent, . These games often feature low-stress such as pet-like slime nurturing and progression, with built-in accessibility options like adjustable text sizes, color-blind modes, and simplified controls to accommodate diverse players. Examples include simulators where slimes evolve through feeding, contributing to the genre's growth from 15 cozy-tagged releases on in 2020 to over 100 by mid-decade.

Literature and film

In literature, slime has often served as a for amorphous, invasive threats in science fiction and fantasy genres. The 1958 film The Blob inspired literary adaptations, including a 1988 by David Bischoff that expands on the original story of a gelatinous extraterrestrial entity consuming a small town, emphasizing themes of uncontrollable growth and human vulnerability. In the fantasy subgenre, Fuse's series That Time I Got Reincarnated as a Slime, first published in 2014 by Micro Magazine, features a protagonist reincarnated as a slime monster who builds a nation; by 2025, the series has 22 light novel volumes and has sold over 40 million copies worldwide across its franchise, including light novels and spin-offs. Comics and animation have portrayed slime as symbiotic or villainous entities, particularly in superhero narratives. In Marvel Comics, the symbiote—a viscous, alien substance that bonds with hosts—was introduced in 1984's Secret Wars #8, where it forms Spider-Man's black costume, and evolved into the character Venom in 1988's Amazing Spider-Man #300, created by a collaboration between writer David Michelinie and artists Mike Zeck and Todd McFarlane, representing a slimy, rage-amplifying antagonist. The 2018 anime adaptation of That Time I Got Reincarnated as a Slime, produced by 8bit studio, brought the light novels' whimsical slime protagonist to visual life, contributing to the series' global popularity with over 45 million franchise copies in circulation by 2024. In film, slime frequently embodies horror through contagion and mutation. The 1968 Japanese-American co-production The Green Slime, directed by Kinji Fukasaku and produced by MGM, depicts astronauts returning from a meteor mission infected by glowing green slime that transforms them into tentacled monsters aboard a space station, blending tokusatsu effects with Cold War-era space fears. The 1988 remake of The Blob, directed by Chuck Russell and co-written by Frank Darabont, utilized practical effects with methylcellulose-based slime mixtures in silk bags manipulated by puppeteers to create visceral scenes of the creature engulfing victims, earning acclaim for its gore and innovation in body horror. Slime in and oscillates between motifs of infectious dread and playful whimsy. Early works evoke , as in 1970s sci-fi short stories exploring fungal slime invasions that parallel real-world outbreaks, heightening fears of biological overrun. Conversely, 2020s children's books like John Sazaklis's Slime Time! (2021) from the Boo Books series portray slime as a fun, spooky adventure on a , using it to teach amid gooey chaos for young readers.

Slang and miscellaneous uses

Colloquial expressions

In English , "slime" has long been used as a to denote a despicable or morally repulsive , a usage traceable to the mid-15th century and derived from the word's earlier of a sticky, offensive substance that clings unpleasantly. This derogatory sense, implying something viscous and loathsome, appears in by the early , often in informal contexts to describe odious individuals. The adjective "slimy," evolving from the same root in the late 14th century, figuratively describes deceitful or insincere behavior by the 1570s, evoking the slippery, untrustworthy quality of physical slime. Common idioms like "slimy politician" illustrate this, portraying figures as oily and manipulative, a metaphor rooted in the tactile disgust of mud-like viscosity rather than literal filth. In contemporary hip-hop, particularly from the 2010s Atlanta scene, "slime" shifted to a positive slang term for a close friend or trusted associate, popularized by rappers like Young Thug and his YSL collective. Lil Wayne contributed to its spread in 2010 with lines like "Blood gang, slime" on the track "Miss Me," though the term was first introduced in hip-hop by N.O.R.E. in the late 1990s, blending camaraderie with street affiliations, though the term has since diffused linguistically beyond specific groups into broader urban vernacular. Regional variations highlight differing emphases: in , "slime" often refers literally to soft, runny or filth, retaining a more physical in everyday speech. In contrast, usage leans toward the viscous, metaphorical implications in expressions, underscoring interpersonal dynamics over mere dirt.

Industrial and other contexts

In the , "pink slime" refers to lean finely textured (LFTB), a product made from trimmings that are heated at low temperatures, centrifuged to remove fat, and treated with gas to eliminate pathogens like E. coli. Developed by Beef Products Inc. in the 1990s, LFTB was incorporated into sold at supermarkets and used in fast-food products to increase leanness and reduce costs. A 2012 investigative report by popularized the term "pink slime," highlighting the treatment and sparking widespread consumer backlash over perceived safety and quality issues, which led major retailers like and to stop using it. In response to the controversy, the U.S. Department of Agriculture (USDA) ruled that year that LFTB must be labeled as a filler if added to , distinguishing it from pure , though it had previously been classified as by federal inspectors. By 2019, the USDA further allowed products containing LFTB to be labeled simply as "" without disclosure, affirming its safety based on ongoing reviews. In mining, particularly in South Africa, "slime" denotes the fine, slurry-like waste material from ore processing, often stored in tailings ponds or dams that pose significant environmental and health risks. Diamond mining operations in the 1880s, centered in Kimberley, generated vast quantities of this slime as a byproduct of alluvial and kimberlite extraction, leading to expansive waste impoundments that contaminated local water sources with sediments and minerals. These slime dams, also known as tailing impoundments, have historically been located near communities, increasing exposure to toxic elements; for instance, cyanide used in associated gold processing—common in South Africa's Witwatersrand Basin since the late 19th century—can leach into groundwater, causing long-term contamination risks. In the 2020s, remediation efforts have advanced with technologies like phytoremediation and engineered barriers to stabilize slime dams, as seen in evaluations of high-risk sites where poor dam design has led to failures, such as the 2022 Jagersfontein diamond mine collapse that released millions of cubic meters of tailings. As of September 2025, criminal proceedings began against five individuals linked to the failure, amid ongoing remediation and justice efforts for affected communities. In cosmetics, slime derived from snail mucin has become a staple in Korean beauty () products since the early , valued for its hydrating and regenerative properties. Snail secretion filtrate, essentially , is incorporated into masks, serums, and creams to promote repair, reduce , and fade scars, drawing from observations of snail trails aiding in . This trend exploded globally around 2014–2017, with brands like COSRX popularizing essence and sheet masks containing up to 96% snail mucin, often combined with ingredients like for enhanced moisture retention, and experienced another surge in popularity through in 2023. Frog slime, the mucosal secretion coating skin, has applications in , where it is harvested from species like the brown frog ( amurensis) for its and compounds. In veterinary contexts, dried frog skin preparations (known as lin wa pi) are used to treat skin ailments and infections in animals, leveraging peptides that persist through processing and exhibit activity. These uses stem from centuries-old practices in traditional Chinese veterinary medicine, which integrate frog-derived mucins to boost immunity and wound recovery in livestock and pets. Miscellaneous industrial uses of slime include the production of "green slime" for television entertainment, a viscous green substance synonymous with Nickelodeon since the late 1980s. Introduced on the Canadian sketch show You Can't Do That on Television in 1979 and adopted by Nickelodeon in 1984, the slime is manufactured in large batches using a food-safe recipe of vanilla pudding, applesauce, oatmeal, and green food coloring to achieve its signature texture and hue. For shows like Double Dare starting in 1986, production scaled to industrial levels, involving mixing vats and pneumatic delivery systems to dump thousands of gallons annually, ensuring consistency for on-air pranks while adhering to safety standards for child actors.

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