The reign of Emperor Muhammad Shah (r. 1720−48) ushered in a significant revival of Mughal courtly arts. Right at the centre of this vibrant milieu was the Emperor’s singing teacher and master of his atelier, Khushhal’s grandson Anjha Baras Khan. But posterity has forgotten him—it is his rivals Ni‘mat Khan “Sadarang” and Firoz Khan “Adarang” whom we remember as the greatest musicians of the eighteenth century. Why? As Delhi was repeatedly invaded and sacked 1739−61, Mughal court musicians scattered all over India, and had to seek new strategies to survive. What happened to Delhi’s musicians and their music is documented in a genre new to writing on music at this time: the tazkira (roughly, biographical collection). In this chapter I show that the proliferation of musicians’ biographies and genealogies were both a product of upheaval, dispersal, and enforced diversification; and a record of these things, particularly in anecdotes of rivalry.