From HarperCollins:

A gritty and gorgeous debut that follows a cast of gay and transgender club kids navigating the Harlem ball scene of the 1980s and ’90s, inspired by the real House of Xtravaganza made famous by the seminal documentary Paris Is Burning

Over on Lit Hub, Sara Wood wrote about the process of designing the cover for Joseph Cassara’s debut novel, The House Of Impossible Beauties. After several detours and dead ends (including 3D illustrations with Tarzana and lipstick on cigarettes with handwriting), she eventually found —

one of the most affecting portraits that I’ve ever seen. It was so unimaginably perfect. There was androgyny, vulnerability, retro glamor, and a dynamic point of view. In this I saw Venus waiting in the wings, preparing to walk in a ball for the first time, with apprehension and adrenaline coursing through her veins.

In her account of the quest for the perfect book cover, Wood doesn’t touch upon the type choices. The prefinal version (which wasn’t used because the photo couldn’t be licensed) featured Alias Enabler (1995). For the final cover (with a re-shot image), the type was made a little smaller, and the font changed to ITC Serif Gothic Light (1970). Both fonts have rather thin strokes and don’t obscure the portrait. They also have the open counter in B in common. I can imagine that Serif Gothic was chosen because it draws less attention to itself than the technoid Enabler with its asymmetrical M and the “frowning” horizontals.

Design: Sara Wood. Art direction: Allison Saltzman. Photograph by Florence & Nicolas.

Prefinal version featuring Enabler.

The Bamboo was, according to Wacom -

the first tablet combining multi-touch functionality and pen tablet technology in a single device.

Though different weights are used, I am pretty sure the light weight is Enabler, available only in a thin weight. The heavier weights are either Progress or Enabler thickened-up.

The typeface with its graphic, spindly and techy look is rather suited to the word, and the product.

Book cover designs for Belgian publisher Centre International pour la Ville (CIVA). The use of Enabler for an architecture book returns it to one of its start points - it was in part derived from writing with the stencils architects use on their drawings.

The heavier weight here is a faux-bold. Its use suggests using different thickness pens with the stencil. Though Progress was based on Enabler, it has some different character shapes, notably the V and W. These were adapted to allow these characters to maintain clarity at heavier weights.

A great, big use of Enabler, with its unusual letter shape adding something unusual and expressive to a minimal but bold, stacking layout.

Wikipedia on the single -

“I Love Rock ’n’ Roll” is the fourth European single released bypop singer Britney Spears from the album Britney on 27 May 2002. The song was used in her 2002 movie Crossroads. Spears's character, Lucy, performs it in a karaoke bar. Spears said of the song, "They asked me to sing karaoke in the movie Crossroads and I've actually sung I Love Rock 'n' Roll in a lot of clubs that I've been to."

Egelnick & Webb:

Jonathan approached Egelnick and Webb following our collaborations with him at Jimmy Choo. He wanted us to help him develop a brand that represented him as smart and sexy, and this thought-process went into every aspect of his brand development from his logo mark, typography, colour palette and application on packaging, to look book, online communication and art direction.

Progress is used for the wordmark. Looks like different weights are used on cloth and print applications.