The Impact of Plastic Consumption
Understanding Throwaway Culture
Plastic was widely celebrated as a modern, futuristic material, and its use in home appliances and entertainment devices reinforced the perceptions of convenience and accessibility. However, this same perception contributed to the notion that plastic products were inherently expendable—designed to be replaced rather than repaired. As chemists learned to synthesize and customize the properties of plastic, manufacturers increasingly viewed it as the ideal material for a rapidly expanding consumer economy (Meikle 1997, 289).The rise of planned obsolescence in product design further strengthened the link between plastic and disposability. In the 1960s, a decade synonymous with “throwaway culture”, many consumer goods were intentionally designed to be replaced within a few years (Whiteley 1987). The plastics industry embraced this trend, marketing new materials as symbols of modernity and progress. As one trade association boasted in a New York Time’s 1968 advertising campaign, new plastics contributed “a fluidity, a grace, a technological beauty of line and purpose that is sure to become the hallmark of a new way of life and a new American culture” (Meikle 1997, 279).
Plastic, Disposability, and Perceived Durability
The RM110 and similar portable record players embodied broader trends in mass production, material innovation, and planned obsolescence, as short-lived products rather than long-term investments. While plastic construction made these record players more affordable and widely accessible, they were not designed for long-term durability. Unlike traditional wood-paneled phonographs, which were built for repair and longevity, plastic record players were intended to be used, outgrown and stored away, and eventually replaced.The 1960s and 1970s are often regarded as the decades of disposability (Whiteley 1987, 3), with companies actively designing products to become obsolete within a few years following its initial purchase. Evidently, this model has persisted into the 21st century, where electronic products are deliberately designed for disposal or annual upgrading, as manufacturers realized this was a profitable market strategy to drive sales. The RM110 was no exception. Each model, despite being manufactured and sold by varying retailers, maintained the same molded hardware exterior but often featured superficial modifications, such as colour changes, licensed character endorsements (e.g., Mickey Mouse), or limited-edition releases, which catered to appropriate youth-oriented, neutral, and gender-specific demographics. This compelled consumers to upgrade, repurchase, or select a model marketed toward a specific demographic, reinforcing the era’s emphasis on planned obsolescence and targeted consumer appeal.
Having survived for over 50 years, the RM110 frequently appears in pristine condition on online aftermarkets, sometimes still fully functional, while other times preserved as nostalgic collectibles. This contrast between its perceived disposability and actual longevity highlights the tension between mid-century consumer culture, which engaged with throwaway practices, and modern discourses of product lifespan and durability.
This disposable mindset may also help explain why the RM110, and its competitors models, were often advertised to children and teenagers, in contrast to higher-end models for adult consumers, typically constructed from wood and metal. Many consumer products marketed toward youth in this era, like toys, lunchboxes, and radios, were increasingly made from plastic, underscoring the idea that these products were temporary, inexpensive, and meant to be outgrown. Thus, this strategic material and marketing choice framed portable record players not only as music devices but also as a style-driven consumer good, subject to shifting design and market trends.