This is arguably one of the easiest tasks you can perform in code as a SharePoint developer, but not very well known or documented.  Start off by referencing the Microsoft.SharePoint.Publishing assembly.  The rest is cake:

// assume we're using the
// Microsoft.SharePoint.Publishing.Administration namespace

ContentDeploymentJobCollection jobs = ContentDeploymentJob.GetAllJobs();

foreach (Job job in jobs)
{
  Console.WriteLine(job.Name);
  job.Run();
}

The ContentDeploymentJob class also has a GetAllQuickDeployJobs() method to return only Quick Deploy jobs.

The ContentDeploymentJob class hosts the expected methods and properties you'd find on a job, such as Name, Description, LastStatus, Run(), and Test() (among others).

Nikki literally, and I mean literally, tried to pull me away from the game last night so I could go to bed.

Forget trying to make progress in the game... I just think the game's premise is awesome: evolve in a massive universe where the decisions you make permanently affect gameplay in the future.  But that's not even the best part.  Personally, the Spore "Creator" is what I like the best.  The Creator is actually a focal point of the game - as you evolve and take on new abilities, you are forced to use the creator to create creatures, houses, factories, land/water/air vehicles, and spacecraft.  The Creator is the most addicting part of it. 

Here's my X-Wing/Tie-Fighter hybrid:

To each his own...  I'm sure other folks probably think the Creator is boring.

I've reached the "Space" phase, and the environment you can explore appears to be massive.  It seems as though the previous four phases are just introductory phases.  The Space phase is the real game.  Or so it seems for now....  I haven't been in the Space phase for long.

Spore has been referred to as a "massively single-player online game".  It is true.  Creations from your friends show up in your game.  Creations from "Sporecasts" that you subscribe to show up in your game.  With some control, you can have the content from creators all over the world show up in your game - creatures, buildings, vehicles, etc. 

I don't think I've played a game this much since Halo 2. 

I'll be presenting at the Twin Cities Code Camp on October 11, 2008.  My topic will be on WPF 3D Construction Basics.  It's actually a topic I've presented on before, but I'll be making some changes and updating content to cover newer community tools and apps that are out there. 

Not sure where this post is coming from, but recently I was thinking about all the music I drummed along to as a kid.  Whether it was my cassette "walkman" or my Sony Discman, I'd put on some headphones and play away for hours.  I'd argue that although some hearing loss may be involved, this technique is actually a good way of developing a good sense of time...  kind of like a metronome with guitars. 

Reading this last after writing it...  most of the albums are from the early nineties.  Prime high school years.  It's probably not a coincidence.

But anyway, here are the albums I recall drumming along to most often, in no particular order:

• Betty (1994) by Helmet.  If I had to put these albums in order, then this one would be number one.  I played this CD until the 1's and 0's came off.  John Stanier is the drummer.  Absolute monster volume grooves.  Snare cranked tight.  20-inch ride cymbals for crashes.   Stanier is probably my biggest drumming influence of all time.  Normally you hear Bonham and Peart in those types of sentences.  Well, they're in this list too.  Stanier's signature style can be found on tracks like Tic.  Vaccination was my fav tune. 
  
  
  
   
• Frizzle Fry (1990) by Primus.  Tim Alexander, the longtime Primus drummer, played drums on this album.  Arguably, after Frizzle Fry he never played the same.  Every Primus album with Tim after Frizzle Fry gets worse and worse, yet I kept buying their albums anyway.  But on this album, Tim's playing was unique.  In 1990, this music was just off the wall.  The groove on "Spegetti Western" is based on a quick floor-tom roll / bass drum double-kick combo throughout the entire song. 
  
  
  
  
  
• Down on the Upside (1996) by Soundgarden.  Matt Cameron is one of pop music's most underrated drummers.  He makes odd time feel like straight time.  The drums on this album sound really organic and un-processed, and the drumming is complex.  Cameron makes it all sound fluid and natural. 
  
  
  
  
  
  
  
• "The Blue Album" (1995) by 311.  Chad Sexton is well known for the drum corps chops he brings to pop/rock music.  Who else plays an open double-stroke roll for a drum fill?!  There is a lot of very subtle ghost-stroke work Sexton does on the snare on this album, and to this day I copy a lot of it when I play.  This album also doesn't have a lot of complex drumming - just basic grooves.  That's also a style that I gravitate toward today.  Hive, Brodels, and T & P Combo were favorites.
  
  
  
    
• Grassroots (1994) by 311.   In contrast to The Blue Album, Grassroots isn't so simple.  It's a much more experimental rock-reggae mix with more difficult drumming.  Sexton's ghost-note work appears here as well.  What's fun about this album are the rock tunes crossed with Sexton's dancehall beats.  To me, its his signature style.
  
  
  
  
  
  
  
• Meantime (1992) by Helmet.  This album is most true to Helmet's noise-rock roots.   Stanier's drumming is more technical and has more finesse on this album than on Betty, but is just as powerful.  This was one of the first albums I'd heard where odd-time was used in a non-prog-rock and non-metal context.  Unsung was the most popular track, but Ironhead was the real deal.
  
  
  
  
  
• Music (1993) by 311.  311's debut.  It's unrefined Sexton.  All in all this isn't one of my favorite albums in my library but I played along to it very often. 
  
  
  
  
  
  
   
• Dirty (1992) by Sonic Youth.  This was the first album I'd ever heard by Sonic Youth and immediately liked Steve Shelley's drumming.  I really enjoyed the contrast of noise and melody on this album and Shelley's approach to drumming in the open noise improvisational sections of songs.  His drum parts are unique and doesn't settle for the typical 1-2-3-4, even though their tunes are mostly based in 4/4.
  
  
  
  
  
• Permanent Waves (1980) by Rush.  What drummer (my age) hasn't played along to this album religiously?  This album doesn't really need any explanation.  Freewill.  Jacob's Ladder.  7/8 time.  Off-beat china hits. 
  
  
  
  
  
   
• Fair Warning (1981) by Van Halen.  This is really an "out-in-left-field" choice, but I truly did play along to this one.  I always felt it was Van Halen's heaviest album.  I was a huge Van Halen fan all throughout junior high.  While I've never thought that Alex Van Halen's drumming was anything special, I'm sure some of his playing has rubbed off on me somehow.  
  
  
  
  
  
   
• Houses of the Holy (1973) by Led Zeppelin.  As much as I loved playing the up-tempo stuff (Song Remains the Same, Over the Hills...), I most enjoyed playing along to No Quarter - the syrupy slow cymbals and creeping groove that Bonham played were awesome.  Somehow the drumming on that song left an impression on me.  Slow tunes were more difficult to play than you thought, and carefully placed accents became more prominent.