While primarily targeted toward teenagers, the popularity of the RM110 could be greatly attributed to the process of consumer socialization, in which consumption behaviours are learned through observation and interaction with parents, peers, and media (Marshall 2010, 26). During the 60s and 70s, teenagers were increasingly exposed to mass advertising through more accessible channels such as television and magazines, as well as youth-oriented branding and peer influence–all of which reinforced their spending habits and shaped their purchasing decisions (Marshall 2010, 34). 

As teenagers spent more time in peer-centered environments, like schools and social gatherings, their consumption patterns became increasingly group-oriented (Savage 2007), with music and record players emerging as key cultural, in-group commodities. At home, parents were considered primary role models who shaped attitudes toward consumption by demonstrating purchasing power and decision-making behaviours. Traditional home auditory systems and stationary record players were purchased by the parents for family use which limited teenagers' control over their listening experience. Portable record players like the RM110 changed this dynamic by bridging the gap between parental influence and peer-driven trends. Teenagers, heavily influenced by radio, magazines, and “adult” television programs (Herrmann 1970), sought to emulate their parents and peers by curating their own vinyl collections and music playback devices. This marked a transition from passive to active consumerism, as teenagers moved beyond simply listening to family-owned record players to purchasing their own portable music devices. CGE inherently capitalized on this transition, offering an affordable, accessible, and portable alternative to traditional home consoles, where in doing so, became an essential tool for youth identity, self-expression, and social belonging.