Mark Oliver Everett, AKA Mr E, is the voice and brain behind US alt-rock heroes, Eels - a band that has been described as "frank, thunderous, and unusually uplifting”. That's some achievement given their overriding themes of loss and angst. But this band's unique approach to life's set-backs gives them a very wide appeal - their fans range from arthouse hipsters to the audience of Shrek (whose soundtrack interprets “My Beloved Monster” rather literally).

Nina Conti is a postmodern visitor from a previous era. Ventriloquism, the remarkable skill of vocal misdirection, was a staple of yesteryear’s mainstream. Its practitioners were odd men pedalling flaccid Saturday-night humour. And indeed she inherited her skill from a much older man. Ken Campbell, the polymathic entertainer who for a time was her lover, introduced her as a young actress to ventriloquism and devised a play called Let Me Out!!! for her which she took to the Edinburgh Fringe in 2001. When he died in 2008, Conti inherited his collection of puppets.

Last year a DVD appeared featuring the 15 winning performances from the start of the BBC Cardiff Singer of the World Competition up to 2011. I watched them all, skimming if any seemed a notch below par but staying with most. You could see the star quality and the promise in many who have since become great artists, including Karita Mattila, Anja Harteros and Ekaterina Shcherbachenko.

When Julian Mitchell wrote Another Country in a couple of months in 1980, Anthony Blunt had just been exposed as one of the Cambridge spy ring. Donald Maclean and Kim Philby were still living in Moscow and the Cold War had another decade to run. The play was set in a boarding school in which adult authority figures are entirely absent, leaving prefects to run the place like a English establishment.

Zara McFarlane’s rise to jazz eminence has taken the scenic route, especially in these days of the super-educated jazz prodigy. From a Jamaican home where reggae was always in the air, via a love of musical theatre, and a degree in pop performance, McFarlane studied jazz and improvisation at the Guildhall. With the support of Gilles Peterson, who signed her to his Brownswood label, she released a debut album, Until Tomorrow, in 2011.

Belinda Carlisle (b. 1958) grew up in Los Angeles, one of seven siblings. In her late teens she was lured into California’s nascent punk scene, becoming briefly involved with one of its premier bands, The Germs. She went on to form The Go-Go’s with singer-songwriter Jane Wiedlin (and eventually a long-term line-up consisting of Charlotte Caffey, Gina Schock and Kathy Valentine, the last leaving last year in acrimonious circumstances). After spending time in the UK in 1980, touring with various 2 Tone bands, they released a single on Stiff Records, “We Got the Beat”.

When a book is published, there are broadly speaking three alternative fates which lie in wait. It goes global, it sinks without trace, or it sells modestly and steadily to the readership for whom it was intended. There is, however, another potential option, which is that it catches a thermal and veers off in an unforeseen direction.

Julian Siegel’s urbane, generically layered voice has, as both reeds player and composer, forged a unique and revered position in the jazz world. He leads a quartet of pioneering drive and technique, featuring pianist Liam Noble, bass player Oli Hayhurst and drummer Gene Calderazzo. Their 2011 album Urban Theme Park was widely praised for its improvising ambition, diverse sound worlds and smouldering virtuosity.

Israeli-born choreographer Hofesh Shechter has had a meteoric rise. Ten years ago, he was a dancer in somebody else’s company who had just taken a couple of steps into choreography. Now he has his own full-time company, can pack out Sadler’s Wells twice a year, and gets invited to stage his creations for top international companies like Nederlands Dans Theater.

Trumpeter and composer Rory Simmons is one of the most innovative and diversely talented musicians on the contemporary jazz scene, genre-hopping with startling agility across its many cutting edges. Fringe Magnetic, Simmons’ acclaimed 11-piece band, has been blending the compositional rigour of classical music with the freer playing style of jazz for nearly five years now. He’s a core member of the LOOP Collective, and has collaborated across Europe with jazz stars including Barak Schmool, John Etheridge and Byron Wallen.