With departure in Sarah Thorntons conception of subcultural capital and Philip Taggs theoretical model of figure/ground, this essay provides an exploration of the rave culture of the mid-1990’s compared to the modern-day rave culture of the mid-2020’s in an attempt to discern where it can be placed on a scale between mainstream and subculture in each respective era. Through the methodological approach of qualitative music- and video analysis, we seek to identify differences between the music played at, as well as the behaviours in people attending, the Love Parade/Rave The Planet festival in Berlin in 1995/1996 and 2024. This study proves that modern day rave as represented in the sources has lost much of its subcultural capital by transitioning away from its previously distinctive and oppositional characteristics. Changes in attitudes and fashion preferences, a lessened engagement in energetic, immersive dancing behaviours and, most importantly, a reversion to the figure/ground dualism indicaties the rave-phenomenon’s move from a subcultural one in the mid 1990’s into the more generally available pop-culture mainstream of today.