weh have locks and still nah go Rastaman Tabernacle... you see dem in the clubs and you see dem in the pubs, and they never ever step beneath the Tabernacle roof", suggesting disconnect with faith but still maintaining culture. Capleton embraces the Bobo Ashanti's religiosity and resistance to Westernized dress and fashion appearance in his music, with lyrics like, "Call Bobo Ashanti from the hill top, Separate the wolf from the sheep flock." The "sheep flock" here being Bobo Ashanti and other pure Rastafarians and the "wolf" being “fake” Rastas who are still eating animal flesh, and also other meat eaters. For decades, Rasta singers have sung songs about “wolves in sheep clothing”. Dennis Brown, Fred Locks, Big Youth, John Holt, Sugar Minott, and others. Wolves are flesh-eating predators, but by contrast , sheep are gentle vegans, living under the protection of their shepherd. Rastas liken themselves to sheep, living under the protection of Jah Rastafari, the Good Shepherd. Their wooly hair matted into locks is like the fleece of a sheep. Sizzla often refers to those Rastas who grow locks but have not renounced the eating of animal flesh (as per Numbers Chapter 6), as “wolf under wool”. Other artists such as Beenie Man commend the work of Emmanuel, but do not necessarily favor the splitting of the Rastafari religion into branches, with lines like, "Now Emmanuel dead, everything tumble down, The Hill divided in a three, separated bu three sons." On the other hand, there is a trend for young Bobo artists to be heroes or defendants of the Bobo Ashanti community. Artists like Capleton remain true to the Bobo Ashanti spirit and make statements like, "We, a di whole a we deh inna Selassie family, but Jah." The conservative and strict nature of the Bobo Ashanti is sometimes compared to that of Islamic fundamentalism by the Rastas from more moderate and less strict mansions. Artists such as Midnite and Lutan Fyah have even gone as far as to call Bobos "the Jamaican Taliban", as both artists have used the term "Bobo Shanti Taliban" in their music. The metaphor also alludes to the attire and turbans worn by Bobos, even though they are different in color and style. Bobo Ashanti artist Junior Reid expresses these ideas in his music, claiming immigration would ask him questions about where he was at the time of the bombing and people mistaking