This essay examines and critiques the implications of various ideological calls as represented in "Sirens" episode, exclusively focusing on the spectacle of viceregal cavalcade, the materiality of the gaze around two barmaids, and the problematics of Ben Dollard`s national ballad in the episode. "Sirens" was written in early 1919 by James Joyce when the guerrilla warfare was on the verge of erupting in colonial metropolitan Dublin for the independence from the British empire. Reading Ulysses as one of major bourfeois modern novels grounds on its `foregrounding` modern metropolitan popular culture and everyday experience in colonial Dublin on every page of the text. This article argues that "Sirens" episode implicates some historically specific sense of modern popular culture through the looking glass of sensitive narrative eyes around colonial Dublin. This implication allows readers to make some political approaches to the Irish social relations, romantic nationalist passion, gender construction and its differences, and inter-relationship between colonial subjectivity and commodity culture behind Joyce`s elaborate presentation of everyday life in early 1919. In this sense, this article shows what Joyce wants to say in dealing with cultural artifacts of modern popular culture in colonial metropolis.