In late 1958, while his acting career was gaining momentum with the TV series Tales of Wells Fargo, McQueen bought the black-on-black Speedster from a dealership in Alhambra, California. The car featured a 1600cc “Super” engine producing roughly 75 horsepower.

He specifically ordered it with Rudge “knock-off” wheels, a rare and expensive racing feature, and a cigarette lighter clamped to the steering column. He eventually removed the “Speedster” and “Reuter” badges for a cleaner look, a detail preserved by the car’s current owners.

McQueen used this Porsche to transition from motorcycle racing to sports car competition. In May 1959, he entered his first official Sports Car Club of America (SCCA) race in Santa Barbara and won his class against 47 other novice drivers. He continued racing the Speedster throughout 1959 at iconic tracks including Del Mar, Willow Springs, and Laguna Seca.

The Speedster’s history includes a famous gap in ownership that highlights McQueen’s attachment to his machines. As his career exploded in the late 1960s, McQueen sold the car to real estate developer and collector Bruce Meyer. McQueen soon regretted the sale and spent years persuading Meyer to sell it back.

In 1974, Meyer finally agreed to sell it back to McQueen for approximately $1,500—the same price he had paid years earlier. McQueen verified it was his original car by pulling up the carpet to find the roll-bar mounting holes he had drilled decades before.

Unlike many of his other famous cars (like the Jaguar XKSS or various Ferraris), the 1958 Speedster never left the family again. It remained with McQueen until his death in 1980 and is currently owned and preserved by his son, Chad McQueen.

Clooney started the decade fresh from singing with Tony Pastor’s big band alongside her sister, Betty. Striking out as a solo artist for Columbia Records, she was placed under the direction of the notorious A&R man Mitch Miller. He had a penchant for quirky, dialect-driven novelty songs. Though Clooney initially resisted them, these tracks skyrocketed her to fame.

Written by William Saroyan and Ross Bagdasarian (later the creator of Alvin and the Chipmunks), “Come On-a My House” (1951) featured a forced Armenian accent and a frantic harpsichord backing. It became a massive #1 hit, selling over a million copies and cementing her star status. Another high-energy, “Botch-a-Me (Ba-Ba-Baciami Piccina)” (1952), Italian-inflected pop novelty that dominated the charts. Capitalizing on the mid-decade mambo craze, “Mambo Italiano” (1954) became an international smash.

While these songs made her a household name, Clooney vastly preferred singing straight jazz and rich traditional pop standards, a side of her talent that would be better showcased later in the decade.

Her immense pop popularity quickly caught the attention of Paramount Pictures. After a few initial films, she landed the role that immortalized her on celluloid: Betty Haynes in the 1954 classic White Christmas. Starring alongside Bing Crosby, Danny Kaye, and Vera-Ellen, Clooney provided the film’s emotional and vocal anchor. Because her co-star Vera-Ellen’s singing voice was dubbed, Clooney actually recorded both parts for the famous “Sisters” duet. The film was the highest-grossing movie of 1954 and permanently linked Clooney to the holiday season for generations to come.

As the mid-1950s progressed, Clooney expanded her reach across the cultural landscape. She hosted her own syndicated musical variety television show, The Rosemary Clooney Show, from 1956 to 1957, which featured top-tier musical guests and showcased her effortless, conversational singing style.

Desiring to prove her depth beyond novelty pop, she teamed up with the legendary Duke Ellington and his orchestra for Blue Rose (1956), highly acclaimed jazz album. It remains a high-water mark of her discography. Clooney formed a deep personal and professional bond with Bing Crosby. They recorded several duets, concept albums (like Fancy Meeting You Here in 1958), and went on extensive concert tours together.

By the end of the 1950s, the music industry was drastically shifting. The rise of rock ‘n’ roll began to push traditional pop and big-band vocalists off the Top 40 charts. The immense pressure of her career, her troubled marriage, and the physical toll of five quick pregnancies began to accumulate, setting the stage for severe mental health and addiction struggles in the 1960s before her triumphant career comeback decades later.