I can't see (or hear) your example but yeah, you can easily remove on frame at a time just by hitting in, out, and cut (or lift if you'd rather... just replace it with some room tone.) If the pops are in the mic, you'll have to manually remove them. It may make it faster to open up your waveform viewing so you can just run through removing them real quick. If you are just hearing tyical Avid cut pops, throw a quick dissolve one each cut as a little crossfade.
Never give up. Everything can be made better in post.
The best and most natural-sounding way I've discovered is cutting just before and after the pop. Then, I add a keyframe into the small clip. I'll play with the pop through the EQ until I can pull most of the bassy "pop" out of it (dropping the low-end through the EQ) while experimenting with different volume levels. When I'm done, I add a two-frame audio cross-fade on the two cuts I made in the audio track.
Of course, you could always get the talent to re-record the track?