The Hollywood advantage

I am reading James Gavin's insightful biography of a 1950s' icon, "Deep in a Dream: The Long Night of Chet Baker."
Baker began his career during the burgeoning days of the so-called "West Coast jazz" scene. It differed from the East Coast scene in sound -- a "cool," melodic approach versus the excitingly dissonant and experimental tunes of the New York Bebop crowd -- and it differed in color -- the hip cats making music in L.A. were about 80 percent white.
I knew there was a lot of animosity in the early 1950s toward West Coast jazz from the music's New York purveyors -- musicians and critics.
I had often thought the schism was mostly along racial lines.
Gavin, however, suggests the animosity found its source in the economic advantages of the Los Angeles-based musicians:
"In one day, a musician could go from playing in an orchestra on a Peggy Lee or Frank Sinatra album to recording a movie soundtrack to working in the house band on a TV show. This routine spared them from having to eke out a living by playing dives on the road, shacking up in bad motels, surviving hand-to-mouth -- toils that gave East Coast jazz a lot of its grit and urgency."
It sounds like it would have fueled a lot of animosity, too.