FRIDAY

>> DJ Carnage brings his jams to Pure

DJ Carnage brings his self-made, dance-happy beats to the Pure Events Center on Friday.

Carnage, born Diamante Blackmon in Guatemala to Nigerian parents, started producing music on his home computer while attending high school in Maryland, and was playing clubs by age 16.

Through social networking, he built an international community of singers and rappers around the world, eventually collaborating with other DJs like Borgore, an Israeli DJ and producer; Australian Timmy Trumpet; and Headhunterz from the Netherlands.

Carnage made the charts with 2015 debut album, “Papi Gordo,” which peaked at No. 184 on the Billboard 200 chart, and made his mark with “Bricks,” a track from that album that became an explicit video featuring hot hip-hop trio Migos and a percussion-heavy drive.

He can also produce more melodious tunes like “Overtime,” from Carnage’s second album, “Battered Bruised & Bloody,” released in April. Featuring Migos, Steve Aoki, Mac Miller and others, the album was described as a “three-act display of Carnage’s willingness and ability to work within multiple styles of hip hop and electronic music” by hotnew hiphop.com.

DJs Lil Xan, Major Airborne, Keanu, Micah Banks and Elevener join in at the Honolulu show.

FRIDAY-JUNE 24

>> “Dead of Night” portrays the struggles of pre-statehood Honolulu

The reality of labor struggles clashes with idealism in “Dead of Night,” a play returning this week to Kumu Kahua Theatre.

The story is set in pre-statehood Honolulu, where four laborers struggle to make ends meet despite their company recently becoming unionized. When a mainlander joins them, they turn to violence to try to pressure their boss into meeting their demands, in turn putting pressure on their own relationship.

“Dead of Night” was written by the late Edward Sakamoto, whose plays are known for their realistic portrayals of life in Hawaii during the days of pre-and early statehood. His “A‘ala Park” told the story of a young man growing up in a slum during statehood, while “Stew Rice” followed three high school friends from the 1950s as each decided whether to leave Hawaii.

“Dead of Night” premiered in 2000, earning praise for its strong writing and controversial subject matter.

The play includes adult language.

FRIDAY-JULY 1

>> The 50th State Fair returns with new rides this summer

Summer’s almost here, so it’s time to head over to Aloha Stadium for the 50th State Fair.

Three new rides will get your juices gyrating this year: Zero Gravity, a carousel on steroids that uses centrifugal force to hold riders in place; the Rockin’ Tug, a spinning ride aboard a cartoonish boat that should be fun for the younger kids; and the Black Out, a mean-looking swinging machine that rotates riders along several different planes.

If you prefer to keep your feet on the ground, there are plenty of fun activities, including the family-friendly Colton Farm Petting Zoo from Waimanalo and the Amazing Anastasini Family Circus, featuring an act in which daredevil motorcyclists scurry around a 40-foot revolving globe with no safety harnesses or nets.

With a full slate of music from local and military bands, a midway of carnival games, and classic fair food from cotton candy to funnel cakes and deep-fried Twinkies, there will be plenty to enjoy from opening today through July 1.

SUNDAY

>> Ballet showcases a wartime story

“Appalachian Spring,” a delightful ballet featuring the music of Aaron Copeland, returns to Paliku Theatre on Sunday, courtesy of Chamber Music of Hawaii and choreographer Minou Lallemand.

Premiering in 1944, “Appalachian Spring” was an instant classic, with its simple, melodious motifs complementing Martha Graham’s choreography. It portrays a young pioneer couple building a new life for themselves on the farm. Graham commissioned the work from Copeland, who drew inspiration from a poem by Hart Crane that referred to a source of water.

The score, perhaps best known for its use of the Shaker hymn “Simple Gifts,” won the 1945 Pulitzer Prize for music and has become a standard for small ensembles.

Lallemand’s choreography resets “Appalachian Spring” as a wartime story involving a family sending one of its men to battle.