Today is World Mental Health Day and of course that means an awful lot of hugs and homilies, thoughts and prayers, deep-breathing exercises and it’s-good-to-talk platitudes from people speaking from positions of immense privilege – ranging from the well-meaning to outright grifters.

Music awards shows are a strange beast: part window display, part industry conference and part party. Especially if you don’t have Brit Awards or Mercury Prize budget to create a whizz-bang spectacle, the ceremonies can be an interminable pileup of attempts to earnestly celebrate both musicians and behind-the-scenes figures, in front of a room full of increasingly drunk and impatient people.

On the Record, the latest documentary from Kirby Dick and Amy Ziering (acclaimed directors of The Hunting Ground), dives into the sexual misconduct allegations against music mogul Russell Simmons, the so-called ‘Godf

Nisha Ganatra’s musical dramedy, penned by first time screenwriter Flora Greeson, isn’t going to win any prizes for originality and is almost unforgivably corny. But the feel-good vibes and winning combination of Tracee Ellis Ross and Dakota Johnson are still likely to win audiences over.

To anyone out of their teens or without a grasp of the Korean language, BTS are probably an unknown quantity. Yet, they are probably the most successful boyband, if not the most successful band, in the world. In fact, just as Abba had a massive effect on the Swedish economy in the 1970s, BTS are a game-changing economic asset and boost to South Korea.

Roland Orzabal, co-founder and lead guitarist of Tears for Fears, laughs to himself often during this documentary — the latest in the BBC’s often-excellent, always-forensic Classic Albums series. “I agree, I agree, it sounds great,” says Orzabal. He’s listening to “Shout,” the band’s 1984 Billboard No. 1 hit.

In photographer Jim Marshall’s heyday in the 60s and 70s, before the music business became corporate and restrictive, and before Marshall unravelled – he was partial to cars, cocaine and guns as well as cameras – musicians asked for him, they trusted him, and he never violated their trust because, he said, “these people have let you into their life”.

It is a very rare thing, as Darius Brubeck reflected, to “inherit a hit.” This gig by the pianist and his quartet marked the exact day of the 60th anniversary of the launch of Time Out by his father Dave Brubeck. Time Out was the first million-selling album in jazz, reaching No 2 in the US pop charts. “It was the gateway drug into jazz for a whole generation,” he mused.

Half a billion dollars is what the top five most lucrative estates of deceased musicians earned last year. The figure represents the cunning work of a few people to turn “legacy” into its own immortal industry. To watch a program on this theme is to peek through the keyhole of a locked cabinet. How does the “RIP business” work? How much – so goes another question – are we really allowed to see?

It’s now Edinburgh Fringe transfer season in London, but here’s one they made earlier: Cora Bissett’s Fringe First-winning autobiographical play from the 2018 Festival about her time in 1990s indie band Darlingheart. Though the broad shape of this tale is familiar, Bissett’s gig-theatre approach lends it a raw authenticity and engaging confessional quality.