Chicago Multiple Dwelling: Fill & Download for Free

Question: Who owns the Ghetto in New York, Chicago and Philadelphia. These people that live there seem to only pay rent, so why are the owners allowed to collect rent from tenements that are unfit to live in?“The Ghetto” is not a singular place, questioner.There are multiple areas (although, ironically, fewer in New York City than ever before) where low-cost, low quality, housing exists and where the urban poor are the primary residents, throughout the above cities. “Ghetto” is “plural, not singular.As far as “tenements”: While there are substandard properties, where the owners barely perform the required upkeep, where tenants are charged exorbitant rents, and where living conditions are below those which are legally allowed, there are actually fewer of them than there were in the past. Lawsuits, cities issuing citations against property owners and, ironically, gentrification (the neighborhoods changing due to wealthier people deciding to renovate the cheaper urban areas) have diminished the value of owning a tenement. It’s often too much trouble owning a problem building, when after significant repairs, even higher rents and/or unit sales of the properties can bring in far higher profits.While there are major cities which still have a number of dwellings which could referred to as being “tenements” (Looking at you Houston, St. Louis and Memphis!) these dwellings are moving out to the suburban areas of those cities (as the wealthy move further away from the urban core, or back into it following gentrification) or exist in rural areas, especially in the Southeast and Rust Belt. In those areas, a shortage of jobs and a lack of government oversight allow the types of housing that were prevalent in major US cities until 20–25 years ago.The types of tenements seen in 1970s and 1980s television and films really don’t exist any longer in the three cities that you named above. It simply isn’t profitable to maintain such dwellings any longer when property owners can fetch amounts that equal decades worth of rents by simply selling the dwellings as “condos”, or “lofts”, to the middle class and the wealthy seeking to return to the cities from the suburbs.As far as to “why” it was allowed to happen (and in some areas , still is): Real estate is a profitable business. Owners of poorly maintained properties can earn small fortunes renting the properties, even if they are fined or sued for substandard living conditions. Coupled with the fact that violations are usually treated as civil, rather than criminal, offenses and given the shortage of housing inspectors and building code enforcement officials, it could be months or even years before owners have to account for their actions, if they ever do.

Kitchen, c. 1944–46. (Murder Is Her Hobby: Frances Glessner Lee and The Nutshell Studies of Unexplained Death)The kitchen is well equipped and stocked. There’s a stove, a refrigerator full of food, a table with a rolling pin and a bowl, and a sink with Ivory soap. The wall calendar, featuring with a sailing ship, says it’s April 1944. But there’s something else: Every item is miniature, hand-crafted, and a doll lies on the floor, apparently dead, cause unknown.[1][1][1][1]Frances Glessner Lee (1878-1962) crafted her extraordinary “Nutshell Studies of Unexplained Death”—a series of 1/12-scale dioramas based on real-life criminal investigation cases, to train homicide investigators to “convict the guilty, clear the innocent, and find the truth in a nutshell.”[2][2][2][2] These dollhouse-sized dioramas of true crimes, created in the first half of the 20th century and still used in forensic training today, helped to revolutionize the emerging field of homicide investigation.John J. Glessner House - WikipediaGlessner Lee’s early life followed a trajectory unsurprising for a girl from a wealthy family in late-19th-century America. The only daughter of John Jacob Glessner, who made his fortune as one of the founders of International Harvester, she was born in Chicago in 1878, and home-schooled along with her brother, George, in the fortress-like Glessner Mansion, designed by renown American architect H.H. Richardson.[3][3][3][3]George would eventually attend Harvard, while she did not, as her parents did not think tertiary education was necessary for women. Glessner Lee aspired to study medicine, but, in 1897, after a grand tour of Europe, she made her societal début, and, a year later, at age nineteen, married Blewett Lee, the law partner of one of her brother’s friends.[4][4][4][4] It was a terrible union and, in 1906, with three children, they separated. Lee fought for a divorce and, in 1914, left for Santa Barbara.[5][5][5][5] Later in life once her children were grown, Glessner Lee radically departed from expectations.Frances Glessner Lee (1878-1962) - Find A Grave...Once she came into her inheritance In the 1920s, Glessner Lee had the resources to formally support the development of forensics, discovered through her brother’s friend, George Burgess Magrath, the medical examiner for Suffolk County and an instructor in legal medicine at Harvard Medical School.[6][6][6][6] She co-founded the Department of Legal Medicine at Harvard in 1931, when the field of forensics was in its infancy.[7][7][7][7] At the time, there was very little training for investigators, meaning that they often overlooked or mishandled key evidence, or irrevocably tampered with crime scenes. Few had any medical training that would allow them to determine cause of death.In writing about her dioramas in The Journal of Criminal Law, Criminology, and Political Science in 1952, Glessner Lee emphasized the importance of keeping an open mind:“… far too often the investigator ‘has a hunch,’ and looks for and finds only the evidence to support it, disregarding any other evidence that may be present. This attitude would be calamitous in investigating an actual case.”[8][8][8][8]In 1943, the New Hampshire State Police commissioned Lee as its first female police captain and educational director. [9][9][9][9] Considered the “mother of forensic science”, Lee would make substantial financial contributions, donating the books that became the Magrath Library of Legal Medicine.[10][10][10][10] Glessner Lee, rather than using her well cultivated domestic skills to throw lavish parties for debutantes, tycoons, and other society types, subverted the notions typically enforced upon a woman of her standing by hosting elaborate dinners for investigators who would share with her, in sometimes gory detail, the intricacies of their profession.[11][11][11][11] And, just like a crime scene investigator, she absorbed the particulars and identified a culprit in many of the cases: a lack of training tools.The Pink Bathroom (How a Chicago Heiress Trained Homicide Detectives With an Unusual Tool: Dollhouses)Glessner Lee created her first diorama in her early 60s (a 1940s magazine article about her was titled “Grandma: Sleuth at Sixty-Nine”). She wrote, without any overstatement,“No effort has been spared to make every detail perfect and complete.”[12][12][12][12]While the Nutshells depicted composites of real cases, featuring homicides, suicides, and accidental deaths, assembled through police reports and court records, Glesser Lee imagined and designed each setting herself.[13][13][13][13] She was both exacting and highly creative in her pursuit of detail—knitting tiny stocking by hand with straight pins, hand-rolling tiny tobacco-filled cigarettes and burning the ends, writing tiny letters with a single-hair paintbrush, and creating working locks for windows and doors.[14][14][14][14] A tiny rocking chair moves when pushed. Very small newspapers have legible headlines in different sizes and fonts, just like a real newspaper.[15][15][15][15]Glessner Lee at work.In 1953, Popular Mechanics dispatched a reporter and photographer to shadow Lee in her workshop. The article described the way postage-stamp-size shingles were:“split with a razor-like tool” and “carefully nailed to a small wall section” to mimic cedar-shake siding on a house, and how a sliding gadget—a kind of miniature vice—was “specially built to hold a bit in place during cutting of a tiny baseboard molding.”[16][16][16][16]Because the purpose of each one was to recreate the scene of a crime that had actually happened, each corpse—from clothing to blood stains to level of decomposition—had to be made precisely.“An effort has been made,” wrote Lee, “to illustrate not only the death that occurred, by the social and financial status of those involved, as well as their frame of mind at the time the death took place.”[17][17][17][17]Case No. 20- "Sitting Room and Woodshed." The only nutshell that ended up in a private collevtion (Tiny Murder Scenes are the Legacy of N.H. Woman Known as 'The Mother of CSI')Glessner Lee chose to set the crime scenes in locations far from her own privileged upbringing: a boarding house, a saloon. For the most part, the victims’ houses suggest they are working-class. Of the 19 dioramas still in existence (it’s believed 20 were built), 11 of the victims are women.[18][18][18][18]Lee completed around two dioramas a year, with the help of a carpenter at her Rose Estate, starting in the early 1940s.[19][19][19][19] The dioramas were then used in seminars, to train investigators in the art of evidence gathering, meticulous documentation, and keen observation. Students were given about 90 minutes to study two models, and then present their findings, after which, the true details of each diorama were explained.[20][20][20][20] Glessner Lee threw in some curve balls. Not every one represents a homicide, and one particularly knotty case involves a brain hemorrhage.[21][21][21][21]Frances Glessner Lee, Parsonage Parlor, about 1946-48. (Murder Is Her Hobby Opens at the Renwick)But Glessner Lee was adamant that the dioramas were not simply puzzles to be solved.“It must be understood, these models are not ‘whodunnits’—they cannot be solved merely by looking at them. They are intended to be an exercise in observing, interpreting, evaluating, and reporting—there is no ‘solution’ to be determined.”[22][22][22][22]According to Kimberlee Moran, Director of Forensics at Rutgers University, both the level of detail and the form are fundamental to teaching necessary skills.[23][23][23][23] With dioramas fortunately you can’t move things around and mess things up like you could at an actual scene or a staged scene, so they’re teaching documentation skills, critical thinking, problem solving, and observation.[24][24][24][24]Despite her scientific intentions and criminal justice motivation, there is no doubt that Glessner Lee also showed creative talent. She didn’t think of herself as an artist, probably largely because her main concern was that the dioramas be taken seriously as scientific tools.[25][25][25][25] But that doesn’t negate the art in them, or that, in fact, the origin of her ingenious solution was her background in feminine crafts.Three Room Dwelling 1944–1946 (19 Grim Dollhouses Tell the Story of the 'Mother of Forensics' | The Vale Magazine)Insight into Glessner Lee's private life is possible from two models- Three Room Dwelling, the only multiple homicide, and Attic. The first, unlike the other Nutshell Studies, depicts a young, seemingly happy family, in a neat, well-appointed middle-class home surrounded by a little white fence, with toys strewn about the porch.[26][26][26][26] The Attic diorama shows an older woman who appears to have hanged herself.[27][27][27][27] From the mess around the room, evidence suggests she may have become despondent from loneliness. Old letters are strewn about the room and dusty, antiquated objects fill the space, sort of metaphorically suggesting she herself may have felt antiquated and no longer of any use to anybody.[28][28][28][28]The Attic (Frances Glessner Lee; Rick Araluce - Sculpture)The young, idealized family, of the Three Room Dwelling, reflects the love, hope and excitement of being newly married and creating a family. The Attic reflects the experience of domestic ‘bliss’ ending in divorce, despite the fact that Glessner Lee s was only finally free to pursue what she loved when she reached her mid-60s.In 2017-2018, the Smithsonian Institute exhibited all twenty of the Nutshells for the first and only time. The link below provides access into the minute crime universe that Glessner Lee created.Inside the "Nutshell Studies of Unexplained Death" - 360 VRThe Living Room(The Tiny, Murderous World Of Frances Glessner Lee)Footnotes[1] How a Gilded Age Heiress Became the 'Mother of Forensic Science' [1] How a Gilded Age Heiress Became the 'Mother of Forensic Science' [1] How a Gilded Age Heiress Became the 'Mother of Forensic Science' [1] How a Gilded Age Heiress Became the 'Mother of Forensic Science' [2] Murder Is Her Hobby: Frances Glessner Lee and The Nutshell Studies of Unexplained Death[2] Murder Is Her Hobby: Frances Glessner Lee and The Nutshell Studies of Unexplained Death[2] Murder Is Her Hobby: Frances Glessner Lee and The Nutshell Studies of Unexplained Death[2] Murder Is Her Hobby: Frances Glessner Lee and The Nutshell Studies of Unexplained Death[3] John J. Glessner House - Wikipedia[3] John J. Glessner House - Wikipedia[3] John J. Glessner House - Wikipedia[3] John J. Glessner House - Wikipedia[4] Blewett Harrison Lee - Wikipedia[4] Blewett Harrison Lee - Wikipedia[4] Blewett Harrison Lee - Wikipedia[4] Blewett Harrison Lee - Wikipedia[5] The Woman Who Invented Forensics Training with Doll Houses[5] The Woman Who Invented Forensics Training with Doll Houses[5] The Woman Who Invented Forensics Training with Doll Houses[5] The Woman Who Invented Forensics Training with Doll Houses[6] George Burgess Magrath Library of Legal Medicine[6] George Burgess Magrath Library of Legal Medicine[6] George Burgess Magrath Library of Legal Medicine[6] George Burgess Magrath Library of Legal Medicine[7] George Burgess Magrath Library of Legal Medicine[7] George Burgess Magrath Library of Legal Medicine[7] George Burgess Magrath Library of Legal Medicine[7] George Burgess Magrath Library of Legal Medicine[8] The Journal of Criminal Law, Criminology, and Police Science[8] The Journal of Criminal Law, Criminology, and Police Science[8] The Journal of Criminal Law, Criminology, and Police Science[8] The Journal of Criminal Law, Criminology, and Police Science[9] 75 Years Ago, Frances Glessner Lee Appointed State Police Captain — Glessner House [9] 75 Years Ago, Frances Glessner Lee Appointed State Police Captain — Glessner House [9] 75 Years Ago, Frances Glessner Lee Appointed State Police Captain — Glessner House [9] 75 Years Ago, Frances Glessner Lee Appointed State Police Captain — Glessner House [10] Murder Is Her Hobby: Frances Glessner Lee and The Nutshell Studies of Unexplained Death[10] Murder Is Her Hobby: Frances Glessner Lee and The Nutshell Studies of Unexplained Death[10] Murder Is Her Hobby: Frances Glessner Lee and The Nutshell Studies of Unexplained Death[10] Murder Is Her Hobby: Frances Glessner Lee and The Nutshell Studies of Unexplained Death[11] Negotiating Domesticity[11] Negotiating Domesticity[11] Negotiating Domesticity[11] Negotiating Domesticity[12] The Grim Crime-Scene Dollhouses Made by the ‘Mother of Forensics’[12] The Grim Crime-Scene Dollhouses Made by the ‘Mother of Forensics’[12] The Grim Crime-Scene Dollhouses Made by the ‘Mother of Forensics’[12] The Grim Crime-Scene Dollhouses Made by the ‘Mother of Forensics’[13] How a Chicago Heiress Trained Homicide Detectives With an Unusual Tool: Dollhouses [13] How a Chicago Heiress Trained Homicide Detectives With an Unusual Tool: Dollhouses [13] How a Chicago Heiress Trained Homicide Detectives With an Unusual Tool: Dollhouses [13] How a Chicago Heiress Trained Homicide Detectives With an Unusual Tool: Dollhouses [14] The Grim Crime-Scene Dollhouses Made by the ‘Mother of Forensics’[14] The Grim Crime-Scene Dollhouses Made by the ‘Mother of Forensics’[14] The Grim Crime-Scene Dollhouses Made by the ‘Mother of Forensics’[14] The Grim Crime-Scene Dollhouses Made by the ‘Mother of Forensics’[15] https://www.youtube.com/watch?v=lTMqLHJRQdU[15] https://www.youtube.com/watch?v=lTMqLHJRQdU[15] https://www.youtube.com/watch?v=lTMqLHJRQdU[15] https://www.youtube.com/watch?v=lTMqLHJRQdU[16] These Grisly Dollhouse Crime Scenes From The 1930s & '40s Are Still Helping To Train Investigators[16] These Grisly Dollhouse Crime Scenes From The 1930s & '40s Are Still Helping To Train Investigators[16] These Grisly Dollhouse Crime Scenes From The 1930s & '40s Are Still Helping To Train Investigators[16] These Grisly Dollhouse Crime Scenes From The 1930s & '40s Are Still Helping To Train Investigators[17] Murder She Crafted[17] Murder She Crafted[17] Murder She Crafted[17] Murder She Crafted[18] http://Case No. 20" and described as "Sitting Room and Woodshed."[18] http://Case No. 20" and described as "Sitting Room and Woodshed."[18] http://Case No. 20" and described as "Sitting Room and Woodshed."[18] http://Case No. 20" and described as "Sitting Room and Woodshed."[19] https://www.washingtonpost.com/lifestyle/magazine/these-miniature-murder-scenes-have-shown-detectives-how-to-study-homicides-for-70-years/2017/09/13/6037b9c4-812a-11e7-902a-2a9f2d808496_story.html[19] https://www.washingtonpost.com/lifestyle/magazine/these-miniature-murder-scenes-have-shown-detectives-how-to-study-homicides-for-70-years/2017/09/13/6037b9c4-812a-11e7-902a-2a9f2d808496_story.html[19] https://www.washingtonpost.com/lifestyle/magazine/these-miniature-murder-scenes-have-shown-detectives-how-to-study-homicides-for-70-years/2017/09/13/6037b9c4-812a-11e7-902a-2a9f2d808496_story.html[19] https://www.washingtonpost.com/lifestyle/magazine/these-miniature-murder-scenes-have-shown-detectives-how-to-study-homicides-for-70-years/2017/09/13/6037b9c4-812a-11e7-902a-2a9f2d808496_story.html[20] https://www.google.com/url?sa=t&source=web&rct=j&url=https://www.researchgate.net/publication/319515606_Corpus_Delicti_Frances_Glessner_Lee_and_the_Art_of_Suspicion&ved=2ahUKEwip94a_yLfsAhW_B50JHYrsDToQFjAOegQIDRAB&usg=AOvVaw3SpAtcv8hURe6C-hJ-ol04[20] https://www.google.com/url?sa=t&source=web&rct=j&url=https://www.researchgate.net/publication/319515606_Corpus_Delicti_Frances_Glessner_Lee_and_the_Art_of_Suspicion&ved=2ahUKEwip94a_yLfsAhW_B50JHYrsDToQFjAOegQIDRAB&usg=AOvVaw3SpAtcv8hURe6C-hJ-ol04[20] https://www.google.com/url?sa=t&source=web&rct=j&url=https://www.researchgate.net/publication/319515606_Corpus_Delicti_Frances_Glessner_Lee_and_the_Art_of_Suspicion&ved=2ahUKEwip94a_yLfsAhW_B50JHYrsDToQFjAOegQIDRAB&usg=AOvVaw3SpAtcv8hURe6C-hJ-ol04[20] https://www.google.com/url?sa=t&source=web&rct=j&url=https://www.researchgate.net/publication/319515606_Corpus_Delicti_Frances_Glessner_Lee_and_the_Art_of_Suspicion&ved=2ahUKEwip94a_yLfsAhW_B50JHYrsDToQFjAOegQIDRAB&usg=AOvVaw3SpAtcv8hURe6C-hJ-ol04[21] Heiress Plotted 19 Grisly Crimes. Investigation Underway. (Published 2018)[21] Heiress Plotted 19 Grisly Crimes. Investigation Underway. (Published 2018)[21] Heiress Plotted 19 Grisly Crimes. Investigation Underway. (Published 2018)[21] Heiress Plotted 19 Grisly Crimes. Investigation Underway. (Published 2018)[22] Murder She Crafted[22] Murder She Crafted[22] Murder She Crafted[22] Murder She Crafted[23] Dollhouse diorama crime scenes[23] Dollhouse diorama crime scenes[23] Dollhouse diorama crime scenes[23] Dollhouse diorama crime scenes[24] The Woman Who Invented Forensics Training with Doll Houses[24] The Woman Who Invented Forensics Training with Doll Houses[24] The Woman Who Invented Forensics Training with Doll Houses[24] The Woman Who Invented Forensics Training with Doll Houses[25] Home Is Where the Corpse Is—At Least In These Dollhouse Crime Scenes[25] Home Is Where the Corpse Is—At Least In These Dollhouse Crime Scenes[25] Home Is Where the Corpse Is—At Least In These Dollhouse Crime Scenes[25] Home Is Where the Corpse Is—At Least In These Dollhouse Crime Scenes[26] https://www.google.com/url?sa=t&source=web&rct=j&url=http://www.rippercast.com/mp3/In_a_Nutshell.pdf&ved=2ahUKEwjfpsG1zLfsAhUuAZ0JHZwwB-gQFjANegQIBBAB&usg=AOvVaw0WqfwmYQ3x9ELjlAl-jPXT[26] https://www.google.com/url?sa=t&source=web&rct=j&url=http://www.rippercast.com/mp3/In_a_Nutshell.pdf&ved=2ahUKEwjfpsG1zLfsAhUuAZ0JHZwwB-gQFjANegQIBBAB&usg=AOvVaw0WqfwmYQ3x9ELjlAl-jPXT[26] https://www.google.com/url?sa=t&source=web&rct=j&url=http://www.rippercast.com/mp3/In_a_Nutshell.pdf&ved=2ahUKEwjfpsG1zLfsAhUuAZ0JHZwwB-gQFjANegQIBBAB&usg=AOvVaw0WqfwmYQ3x9ELjlAl-jPXT[26] https://www.google.com/url?sa=t&source=web&rct=j&url=http://www.rippercast.com/mp3/In_a_Nutshell.pdf&ved=2ahUKEwjfpsG1zLfsAhUuAZ0JHZwwB-gQFjANegQIBBAB&usg=AOvVaw0WqfwmYQ3x9ELjlAl-jPXT[27] Frances Glessner Lee, Attic (detail), about 1946-48. Collection of the Harvard Medical School, Harvard University, Cambridge, MA, courtesy of the Office of the Chief Medical Examiner, Baltimore, MD. Photograph by Susan Marks, Courtesy of Murder in a Nutshell documentary[27] Frances Glessner Lee, Attic (detail), about 1946-48. Collection of the Harvard Medical School, Harvard University, Cambridge, MA, courtesy of the Office of the Chief Medical Examiner, Baltimore, MD. Photograph by Susan Marks, Courtesy of Murder in a Nutshell documentary[27] Frances Glessner Lee, Attic (detail), about 1946-48. Collection of the Harvard Medical School, Harvard University, Cambridge, MA, courtesy of the Office of the Chief Medical Examiner, Baltimore, MD. Photograph by Susan Marks, Courtesy of Murder in a Nutshell documentary[27] Frances Glessner Lee, Attic (detail), about 1946-48. Collection of the Harvard Medical School, Harvard University, Cambridge, MA, courtesy of the Office of the Chief Medical Examiner, Baltimore, MD. Photograph by Susan Marks, Courtesy of Murder in a Nutshell documentary[28] Frances Glessner Lee; Rick Araluce - Sculpture[28] Frances Glessner Lee; Rick Araluce - Sculpture[28] Frances Glessner Lee; Rick Araluce - Sculpture[28] Frances Glessner Lee; Rick Araluce - Sculpture

(A modern representation of the Goddess Freyja. From: Freyja Salon Chicago)Well, the one thing is that while there are a lot of sources about the Norsemen, very few actually give any information at all about their religious beliefs and practices, and those that do almost always must be taken with a hefty dose of salt.As far as the Norse afterlife is concerned, most of what we know comes from Snorri Sturluson, a 13th-century christian Icelandic chieftain, politician and poet, who compiled, adapted and modified various pre-christian myths in order to write a book about traditional poetry (his Prose Edda is essentially that, a textbook in Poetics).In his writings, Snorri writes a lot of things, some of which he backs ups using older Pagan poetry (skaldic poetry) and some which he doesn’t. he is especially found of conflating elements that are only mentioned in passing in the myths.Regarding Fólkvangr, for example, it is mentioned only once outside of Snorri, in Grímnismál:Fólkvangr er inn níundi, Fólkvangr is the ninthen þar Freyja ræðr, where Freyja rulessessa kostum í sal; to the benches are dealt in the hallhalfan val half of the slainhon kýss hverjan dag, she chooses every dayen halfan Óðinn á. while half Óðinn owns(Grímnismál - heimskringla.no)(Grímnismál recounts the sufferings of Óðinn who, bound between two fires, tells about the dwellings of the Gods. From: GermanicMythology)And….that’s it. Nothing besides this very short passage and Snorri commenting it very vaguely exists in the entirety of Old Norse literature.Pretty thin material to build up a belief upon, right?Now, we don’t know how old is Grímnismál. There have been theories that it actually pre-dates the conversion of Scandinavia as it might have been used in a dramatic context, maybe as some kind of sacred theater…however, we simply cannot know for sure the origin of the mythical elements displayed in the poem.Could it be that there indeed was a widespread belief among Viking-Age Norsemen that half the dead went to Óðinn and the rest to Freyja? Mayhaps. Or mayhaps this was just a poetic and/ or symbolic re-interpretation/ re-formulation/ innovation based or not based on actual beliefs and practices.In any cases, it is pretty certain that Freyja, together withe the Valkyries (“slain-choosers”) and general female figures has had a very ancient association with death and the afterlife and that the cult of Óðinn (as well as the whole Valhöll) is comparatively younger than this more “feminine” strate of mythology.Could this poetic passage be a reference to an age-old remnants of the time when Freyja, and possibly other female Goddesses/ spirits were seen as the rulers of the dead and the afterlife, alongside and/ or before Óðinn? Again, mayhaps.(A pre-Viking Age depiction of what could be Óðinn, Del av hjälm vendel)We simply cannot be completely sure.To conclude, the point I was trying to make in this post is that the mythological elements found in Old Norse (among others) sources should not be seen as always reflecting a systematic and well-organized and ordained religious worldview. There are multiple “layers” of beliefs so to speak that coexist within the mythology and there is no way to be completely sure how literally Norse Pagans of the Viking Age interpreted such elements.Some possibly believed that followers of Freyja and the Vanir Gods would be the ones joining the Goddess in the afterlife. Followers of others deities, chiefly Óðinn might have interpreted tales about Fólkvangr as just fairy-tales, thinking that every fallen warrior would join their one-eyed God in the end. Many, especially among those not worshipping or in contact with the worship of the Vanir Gods might also simply never have been made aware of Freyja’s hall. After all, what we today call the “Viking Religion” was spread throughout an entire sub-continent, among a half-dozen nation living different lifestyles that existed, and evolved over several centuries.(A modern depiction of the Viking afterlife: Karl Barth, Valhalla)In such a context, religious beliefs are bound to be plentiful, varied, evolving and probably did not form a coherent, all-encompassing system. Fólkvangr is a good example of such a belief whose exact place and importance cannot really be specifically assessed and established and that most likely only had actual relevance to a specific group of people (the worshipers of the Vanic Gods ? Especially prior to the 5th century?) and which only was thought as a part of a greater, unified, “mythology” quite late in the Pagan period or even later, after the conversion, through the works of poets and scholars.TLDR: there were a multitude of afterlife destinations most likely because there were numerous, competing, beliefs at play during the Viking Age, beliefs that were not necessarily a part of a larger unified set of beliefs spanning the entire of Scandinavia in the Viking Age. mAs far as Fólkvangr is concerned, it is only mentioned once in a (most likely) Viking-Age, Pagan poem and later (very briefly) discussed by the christian scholar Snorri Sturluson. The belief in a hall of the slain ruled by the Vanic Goddess Freyja might stem from a period, prior to the Viking Age, in which female Gods, spirits and priestesses were more closely associated with death, the afterlife and the sacred than in the Viking Age when Óðinn became the death-God of several ruling Scandinavian dynasties.Hope this helped!