The 490-page volume Tény és titok. Szabó Lajos összegyűjtött írásai és előadásai [Fact and Secret. The Collected Writings and Presentations of Lajos Szabó] was published in 1999 by Pannon Panteon in Veszprém, Hungary, edited by Attila Kotányi, György Kunszt, and Lajos Kőszegi. Transcriptions were made by György Kunszt, László Surányi, Ádám Tábor, and Béla Tábor.

The heritage of images, whether still photographs or films, in the Mirel Leventer private collection has been explored in the course of a number of programmes on Romanian Television. It all began in 1999, explains Mirel Leventer: “At a certain point, Doru Ionescu, the maker of the programme Remix on public television, tracked me down by asking around, and in 1998 or 1999 we began to collaborate. He said he was interested in my archive, but that he couldn’t pay me a copyright fee. I told him I wasn’t interested in being paid anything like that, that behind what I had there was a brand – Cine-club A – and that I couldn’t take money for them. In the end, we met, I came with my 8 mm projector and he came with a high-quality video camera. While I projected, he filmed the wall. Basically he filmed everything I had. We didn’t have a convertor – now it would be simpler to get such a thing, but back then they only existed in the West and were very expensive. The fact is that he found this solution and fixed them on another support, much more solid than the initial one. Being filmed on the wall, the films look a bit as if they’re from the beginnings of cinematography.” The films were broadcast, over three successive years, in Doru Ionescu’s programmes on public television. Mirel Leventer was credited as being the custodian of the films from the period of glory of Club A in Bucharest. Each time one of the films in his collection was broadcast, the text appeared: “Thank you, Mirel Leventer, Cine-club A.”

“Doru Ionescu also has a passion for searching – he’s a sort of archaeologist of music. For years he had been looking for images of certain groups that played for a few years and that didn’t exist anywhere any more. Well, on my films he found plenty such moments and names. Suddenly he could see them in my collection, just as they were back then, with long hair, jeans, they way they played at clubs. It was a great joy for him. And for me, in fact, because I was thus able to recover an important part of the history of rock, folk, and pop music in Romania. He found there FFN – Formația Fără Nume (The group with no name). Nowhere else were there any pictures of them remaining. It was as if all trace of them had been erased; but no, there was still something preserved on my films,” relates Mirel Leventer. Initially, the films copied from those in the Mirel Leventer private collection were preserved on video cassette, and later they were digitised and put on CDs. Some of the programmes in which selected images and films from this private collection are still being repeated on Romanian Television.

The book My Dossier, Pardon, Biography. Bulgarian Modernizations (1930s to 1960s) - ideologies and identities was published in 1999. It contains 20 autobiographical narratives from southwestern Bulgaria, collected through the biographical interview method by members of the Balkan Society for Autobiography and Social Communication (Petar Vodenicharov, Kristina Popova, Anastasia Pashova). By collecting and publishing popular autobiographical histories, the Society aims at developing sensitivity for the life of "ordinary" people who did not belong to the communist power structures, nor to prominent dissident circles. The memories of the interviewed people born in the first decades of the 20th century, most of them in southwestern Bulgaria, reflect social realities from different periods of state socialism and the period of transition in the early 1990s. The narratives reveal experiences of and resistance against collectivization, the experiences of persecution due to social or ethnic origin, the outcome of the religious policy of the communist party and forms of everyday opposition against it. The autobiographical narratives show the pressure of the official biographical norms and tropes of the communist period which have influenced autobiographical narratives and private life: traces of keeping secret dangerous moments, the concealment of an "inappropriate" childhood, and its "forgetting" in the family narrative. But they also powerfully reveal forms of narrative and practical resistance as ways of asserting one's own identity.

Polski punk contains fragments of such fanzines as PUNK, Post and Post Remont published by Henryk Gajewski, Zjadacz Radia and Papier Białych Wulkanów by Jacek “Luter” Lenartowicz, Kanał Review by Andrzej “Amok” Turczynowicz, Organ by Tomasz Hornung, Stefan “Mikes” Mikulski’s Szmata, as well as Radio Złote Kłosy by “Ada” Dąbrowska; it also contains leaflets and brochures dedicated to bands and punk and new wave music festivals. “Ada” is the author of the majority of the photographs in the album, although it also contains photos by Michał Wasążnik and Ilik Kuruliszwili. Finally, the album is complemented with clippings from official youth press, e.g. Na Przełaj and Itd.

In 2014 Dąbrowska-Lyons published a CD album under the same title (Polski punk 1978-1982) with archive recordings from the early 1980s of Białe Wulkany, Kryzys and Tilt bands, as well as Maciek Brunet and Walek Dzedzej; i.a from their performances at Remont and at the 1^st Polish New Wave Festival in Kołobrzeg and the famous 1980 Titlt concert at Teatr Studio.

Dąbrowska-Lyons is planning to publish in 2018 a new edition of the album, which has earned a legendary status and is highly valued also thanks to its punky graphic design.