If you’re still looking for that perfect holiday gift, take a tip from Justin Bieber and hire a professional to help you cook a killer meal. On Wednesday (Dec. 17) the “Daisies” singer shared a pair of videos of a recent night in he shared with wife model Hailey Bieber in which the couple, with some assistance from of a fleet-handed itamae (sushi chef), made their own sushi rolls.

In the first time-lapse clip we see Bieber, dressed in a yellow sweatshirt, learning how to gently cut a piece of tuna with a super-sharp knife, followed by Hailey trying her hand at chopping up the fish with some help from the pro.

Luckily for the couple they were taking their lesson at home, because not long into the video Bieber pops back in, this time shirtless, with his underwear on display above his low-riding grey sweats, in a code-violating display that would surely not pass a proper food inspection. The couple appear to be quick studies, though, casually massaging the tuna as they prepare to roll it all up in the nori seaweed wrap.

In the second video, Bieber, now wearing a white flannel long sleeve, joins Hailey in rolling the sticky rice into the wrap and adding the fish before digging right into their super fresh meal. Some fans in the comments were super impressed with JB’s rolling skills, with one saying, “Rolled that sushi like a joint [laughing crying emoji] looked good though!”

The sushi vid dropped the same day that Bieber surprised fans with a (sideways) Christmas-themed video from his Twitch livestream space in which he performed, “Mistletoe,” the reggae-spiked title track to his 2011 holiday album, Under the Mistletoe with a full band while dressed in long, baggy black and white shorts, a white t-shirt and red sunglasses.

The Spanish edition of Vive Latino festival in Zaragoza has announced its program for 2026. The famous Mexican rock fete will mark its fifth anniversary in Spain when it returns to the Expo venue on Sept. 4 and 5, with a lineup headlined by Julieta Venegas, Rawayana, Amaia, Ed Maverick, Guitarricadelafuente, Rigoberta Bandini and Loquillo, announced Mexican promoter Ocesa on Thursday (Dec. 18).

Ultraligera, M-Clan, Buena Vista All Stars, Esteman and Daniella Spalla, Hermanos Martínez, Plastilina Mosh, Sonido Gallo Negro, Siloé, Niña Polaca, Veintiuno and División Minúscula are also part of the lineup comprised of 33 solo artists and bands participating in the Festival Iberoamericano de Cultura Musical Vive Latino España, which, according to the organizers, will feature three stages.

Overall, the rock fest will bring together artists from six nationalities: Spain, Mexico, Venezuela, Argentina, Colombia and Cuba.

“Vive Latino will once again give us an opportunity to discover national and international artists,” said Natalia Chueca, mayor of Zaragoza, during the lineup announcement on Thursday. “This festival holds a special place and is a hallmark of our musical offerings.”

The mayor highlighted the economic impact the festival has brought to the city, stating that since its arrival at the Expo venue in 2019, it has exceeded 25 million euros in revenue, with more than 155,000 attendees.

Since its creation in 1998 in Mexico City, the Festival Iberoamericano de Cultura Musical, better known as Vive Latino, has had a transgressive personality that challenges stigmas. For example, it was the first to incorporate pop, reggaeton, cumbia and Mexican regional music artists into its lineup; it added Anglo bands while being the ultimate celebration of rock en español; and it is the first festival in Latin America to have its own edition in Spain.

El Vive, as its audience lovingly calls Mexico’s longest-running music festival, debuted on Nov. 28-29, 1998, at Foro Sol (now Estadio GNP Seguros) in Mexico City, where it has been held every year since, except for 1999, 2002, and 2021 — the latter due to the Covid-19 pandemic. The 2026 edition, its 26th, is set for March 14-15 at the GNP Seguros Stadium.

Check out the official lineup for 2026 Vive Latino España below.

Teníais las fechas. Teníais las ganas. Ahora tenéis los nombres. ❤️‍🔥

Este es el cartel oficial de Vive Latino España 2026.
Y no es un año más, es nuestro 5º aniversario y lo vamos a celebrar por todo lo alto. 🔥 pic.twitter.com/ixgaVVfz2v

— Vive Latino España (@vivelatino_es) December 18, 2025

Christmas music is big business. According to a Billboard estimate in 2022, Christmas records make over $177 million a year in the U.S. alone each year — not bad for a genre that is only consumed for about six weeks out of the year.

Those lucky artists, like Mariah Carey, Brenda Lee, Bobby Helms and Ariana Grande, who end up recording a Christmas hit find themselves re-entering the Hot 100 top 10 year after year, but what’s perhaps even luckier is being the songwriter who wrote the song itself.

Guy Moot, CEO and co-chair of Warner Chappell Music, calls writing a top Christmas song “the holy grail” for songwriters, given the song is likely to be covered by other artists in the future and could become a true Christmas standard. But Moot notes that because tradition plays such a key part of the holiday season, it’s extremely unlikely to write a Christmas hit today.

“Every year, people want nostalgia,” says Moot. “But I still think it’s possible [to make a new holiday hit]… It just might be that some newer songs need time to age.”

Streaming has played a major role in propelling Christmas music, and it’s fundamentally changed the industry of holiday hits. Instead of needing a full album of seasonal songs, in order to sell physical records, now the game for artists making holiday music is to write a catchy single that could work on a hot Spotify playlist.

Carianne Marshall, COO and co-chair of WCM, adds that the streaming economy has had a major impact on propelling the success of older, less-known Christmas songs, now that entire albums are no longer the focus. “In the beginning, when [consumers] were buying albums, you’d go to the classics. You’d buy Dean Martin or Donnie Hathaway,” Marshall explains, adding “No one’s buying the album for ‘Dominic the Donkey’” — but they will stream it.

To break down the industry behind hits like “Frosty the Snowman” “Rockin’ Around the Christmas Tree” “Let It Snow, Let It Snow, Let It Snow” and more, Moot and Marshall came on Billboard’s new music business podcast, On the Record w/ Kristin Robinson this week.

Below is an except of that conversation.

Watch or listen to the full episode of On the Record on YouTube, Spotify or Apple Podcasts here, or watch it below.

To me, Christmas music really does feel like an important part of the industry for songwriters, because if you write a hit, it becomes a standard and will get covered over and over and over by various recording artists. But it still feels extremely hard to get one of those evergreens. Is it worth the effort?

Moot: I think it’s one of the most difficult things, like the Holy Grail, to write a new contemporary Christmas hit. I guess people want that nostalgia. You grow up with certain Christmas songs that you play for your children, and it symbolizes Christmas. But still, people try for it, and in fact, we just actually had a writer’s camp. We had 50 of our writers in different cities put together a Christmas album, which we just released. We also wrote it to pitch for synchronization. [Music supervisors] often ask for the same titles, which is great for our business, but we want to also have new songs to pitch. I think to try and write new Christmas songs is challenging, but ultimately, it’s a huge prize if we can do it.

Marshall: It’s interesting too, because I think about some of the songs that are considered holiday evergreens that aren’t really even Christmas songs. They just tend to get licensed more around Christmas, like, “What a Wonderful World.” It’s a really big one that gets licensed for a ton of holiday ads. But that’s not a Christmas song. I think it’s that feeling of joy that gets captured in the song that makes it work.

Is it still worth it for artists to try, given how challenging it is to create a new classic?

Moot: While it’s tough to write new Christmas songs, they’re going to be on streaming services forever. Who knows — someone could pick it up. Maybe it will go viral. I think it’s difficult in the immediate but there’s always long term value in Christmas songs. It’s very possible it could end up on a top playlist, or that someone finds it and does a new version of it, or it goes off on TikTok. I don’t want to deter people from going out and writing Christmas songs, it’s just not immediate.

Marshall: It is funny which Christmas songs go in and out of favor…. We all know these classic Christmas songs, like ones from Nat King Cole, Dean Martin, Brenda Lee, but somehow, a few random songs have also made their way onto streaming playlists [alongside the classics] in recent years, and now [these less popular songs] are all over the place, like “Dominick the Donkey” or “I Want A Hippopotamus for Christmas.”

Was “I Want A Hippopotamus for Christmas” not previously popular?

Marshall: Yes, but it wasn’t on the Bing Crosby Christmas album — no one was buying that album. My point being, when we were in the days of buying albums the most successful songs were really just the classics on big albums.

Yeah, in an age of streaming you can way more easily consume individual songs… Carianne, have you ever worked on a sync that totally changed the life of a holiday song?

Marshall: Yes, but nothing like today when things can go viral [after the sync.] There were definitely song songs that had a couple uses here and there that helped sell some copies and would extend the life of the album, but I think now one of the things that is really exciting is there aren’t album cycles so much anymore. So we have great songs, holiday classics we can pitch every year. There’s no time frame anymore. Part of that is awesome because nothing goes stale, but part of it’s really hard, because you’re competing against everything — not just things that are released within a certain amount of time. But this is what makes curation even more important than ever.