Lately I've been kvetching about Popism — egregious instances of classical music being snubbed in the "mainstream media," to coin a phrase. Elitism is a two-way street, you cool kids at the cool lunch table. Here's a nice exception: Jason Gross, in his annual roundup of top-notch music writing, deigns to include a number of classical articles in a largely pop-oriented survey. This is in contrast to the Da Capo Best Music Writing series, which explicitly excludes classical music, for reasons unknown. Of course, we here at the New Yorker have to feel slightly disappointed that nothing from our pages made Mr. Gross's heart go pitter-pat, but we'll try harder.