Picture this: a computer on stage playing songs to an audience of computers. No humans involved, just machines performing for machines in an endless digital loop. Yet somehow, millions of dollars change hands.
This isn’t science fiction. It’s happening right now on streaming platforms, and it’s just one of the mind-bending fraud schemes explored in this episode of Oh My Fraud. Host Caleb Newquist opens with a relatively new conspiracy theory called the Dead Internet, which suggests that most online activity, including posts, likes, followers, and streams, isn’t human anymore. It’s “bots talking to bots, talking to bots,” creating an information superhighway filled with self-driving cars that have destinations but no passengers.
But what happens when someone exploits this artificial ecosystem for real money? That’s exactly what we’re about to find out.
The $121 Million Email That Fooled Silicon Valley
Between 2013 and 2015, a Lithuanian man named Evaldas Rimašauskas pulled off something that shouldn’t have been possible. He convinced two of the world’s smartest companies, Google and Facebook, to wire him $121 million. His method wasn’t sophisticated hacking or complex algorithms. He simply pretended to be someone else.
Rimašauskas impersonated Quanta Computer, a real Taiwan-based hardware manufacturer that actually did business with both tech giants. He set up a company in Latvia under Quanta’s name and opened bank accounts in Latvia and Cyprus. Then his team got to work, calling Google and Facebook customer service lines to gather intelligence, including names of key employees, contact information, and other details that would make their lie believable.
Through phishing emails and what Caleb describes as “a maze of phony invoices, contracts, letters, and corporate stamps,” Rimašauskas created enough confusion to convince someone at Google to update the bank account they had on file for Quanta Computer. In 2013, Google sent $23 million to his account. Two years later, using the same playbook, Facebook wired him $98 million.
The money flowed through accounts across Latvia, Cyprus, Slovakia, Lithuania, Hungary, and Hong Kong. And here’s the kicker: these amounts were so insignificant to Google and Facebook that they “went virtually unnoticed.” As Caleb puts it, “$23 million and $98 million aren’t even rounding errors on the amount of revenue for Google and Facebook. It’s less than pocket change.”
Eventually, someone at Google caught on. Rimašauskas was arrested in March 2017, extradited to the U.S. that August, and pleaded guilty to wire fraud in March 2019. He got five years in prison, and both companies got their money back.
From IT Mogul to Music “Producer” to Alleged Fraudster
Our second story shifts from simple impersonation to something far stranger. Meet Michael Smith, a 52-year-old with a resume that reads like three different people’s lives smashed together.
According to the research, Smith made his first fortune in the 1990s with an IT business where he allegedly wrote “one of the main fixes for the Y2K millennium software bug.” He then ran chains of medical clinics, which landed him in trouble in 2020 when he and two associates paid $900,000 to settle Medicare and Medicaid fraud allegations.
But here’s where it gets weird. At age 39, Smith decided to become a music industry player. Despite having no apparent musical background, he somehow ended up judging a BET hip-hop competition called “One Shot” alongside DJ Khaled, T.I., and Twista. As Wired magazine described it, he was “a relatively unknown record producer with a checkbook” among actual stars.
When Caleb asked producer Zach Frank if he’d ever heard of anyone building a successful music career starting in middle age, Zach’s response was telling: “It’s extremely, extremely rare. Not without money, at least.”
The Streaming Revolution and Its Discontents
To understand Smith’s alleged fraud, you need to understand how dramatically the music industry has changed. Zach, who comes from a family of professional musicians, explained how streaming completely upended the business model.
In the old days, people bought physical albums for $12-15 at stores like Tower Records. Artists made real money from album sales. Then came Napster and peer-to-peer sharing, which Caleb admits using extensively in college. “People were listening to all this music completely in its entirety for free,” he recalls.
Today’s streaming platforms like Spotify and Apple Music operate on a subscription model. Users pay monthly fees for unlimited access, and artists get fractions of pennies per stream. Spotify made $17 billion in 2024 and claims 70% goes to the music industry, but individual artists see almost nothing.
The numbers are staggering. According to Spotify’s former chief economist, more music is released every single day in 2025 than in the entire year of 1989. And here’s what makes it worse: bigger artists negotiate better deals, while smaller artists, as Zach puts it, “get screwed.”
Building an Army of Fake Listeners
This is the landscape Smith allegedly decided to exploit. Starting in 2017, he orchestrated what the Department of Justice calls a scheme to steal millions in royalties by fraudulently inflating music streams.
The mechanics were brilliant in their simplicity. First, Smith created thousands of bot accounts using fake email addresses and names. He even told a coconspirator to “make up names and addresses” but to “make sure everyone is over 18.” He paid $1.3 million in subscription fees because, as Zach explains, paid subscribers generate higher royalty rates than free users.
By October 2017, Smith had 1,040 bot accounts spread across 52 cloud service accounts. Each bot could stream about 636 songs per day, generating approximately 661,440 total daily streams. At half a cent per stream, that meant $3,307 daily, $99,000 monthly, or $1.2 million annually.
But Smith had a problem: he needed content. Lots of it.
When AI Makes Music for Bots to Hear
Initially, Smith used music catalogs from coconspirators and even tried selling his streaming service to other musicians desperate for plays. But as he wrote in May 2019, “I can’t run the bots without content and I need enough content so I don’t overrun each song. If we get too many streams on one song, it comes down.”
His solution? Artificial intelligence. Smith partnered with Alex Mitchell, CEO of an AI music company called Boomy, who began providing thousands of AI-generated songs each week.
The song and artist names were gloriously terrible. Song titles included “Zygotic Washstands,” “Zygoptera,” and “Calvinistic Dust.” Band names ranged from “Calm Knuckles” to “Camel Edible.” As Caleb jokes, “I don’t know what camel edibles are. Perhaps they are THC gummies for camels.”
To demonstrate just how far AI music has come, Zach used Udio.com during the podcast to generate two complete songs about Oh My Fraud in just 10-15 seconds. The results were unnervingly good, professional-sounding tracks that could easily pass for human-created music. “There’s a lot of AI music on Spotify at the moment without people knowing it’s AI,” Zach notes.
Smith used VPNs to hide that all streams came from one location and spread activity across thousands of songs to avoid detection. When flagged for “streaming abuse” in 2018, he protested: “We have no intentions of committing streaming fraud.”
By February 2024, Smith’s scheme had generated 4 billion streams and $12 million in royalties.
Folk Hero or Fraudster?
The reaction to Smith’s indictment has been surprisingly divided. Some see him as a criminal who stole from real artists through the “stream share” system, where royalties are distributed based on each rightsholder’s proportion of total streams. Others view him as a folk hero exposing an exploitative system.
The case raises uncomfortable questions. When the band Vulfpeck released an album of complete silence and asked fans to stream it while sleeping—earning $20,000 before Spotify banned them—was that fraud or performance art? As Zach asks, “If someone’s playing blank music, who are they to say that’s not real?”
Smith has hired the prestigious law firm that defended Diddy and plans to fight the charges vigorously. This will be the first major streaming fraud case fully litigated, potentially setting precedents for how we define fraud in digital spaces.
What We Learned
As Caleb reflects at the episode’s end, these cases reveal something profound about our digital economy. Google and Facebook, companies worth trillions with founders worth hundreds of billions, got tricked by simple schemes. A middle-aged entrepreneur with a checkbook created a phantom musical empire that earned millions.
For accounting professionals, these are warnings about the future of fraud detection. When documentation can be perfectly faked, when bots are indistinguishable from humans, when AI creates content that only machines consume, traditional audit procedures become obsolete.
These cases force us to confront questions about power, technology, and authenticity in the digital age. When companies make billions while creators earn pennies, algorithms determine value instead of human appreciation, and the line between real and artificial completely disappears, that’s when people start rooting for the fraudsters. Not because they’re right, but because the system itself feels so wrong.
Listen to the full episode to hear Caleb and Zach grapple with these questions, including those AI-generated songs that sound disturbingly human. Because in an age where machines create for machines while extracting real value from real people, understanding these frauds helps preserve what makes us human in an increasingly artificial world.
