The 1.1"/75 caliber gun was an American anti-aircraft weapon of World War II. The name means that it had a bore diameter of 1.1 inches (28 mm) and barrel length of 75 × 1.1 inches = 82.5 inches (2.1 m), using the "caliber" nomenclature common to large artillery pieces.

It was developed when the U.S. Navy Bureau of Ordnance (BuOrd) decided that the .50 caliber machine gun was not adequate for future AA duties:

During the early part of World War II, they were deployed on most U.S. Navy warships of destroyer and larger size.

Due to teething problems that were never rectified, the gun was very unpopular with its crews. It was replaced with the Bofors 40 mm gun whenever possible, but served until the end of the war on some ships.

The guns were sometimes referred to as "Chicago Pianos."

William Basinski (born 1958) is a United States avant-garde composer of ambient music via tape music and process music. Basinski is also a clarinetist, saxophonist, sound artist, and video artist. He is best known for his four-volume album The Disintegration Loops (2002–2003), constructed from rapidly decaying twenty-year-old tapes of his earlier music.

William Basinski was born in 1958 in Houston, Texas. A classically trained clarinetist, he studied jazz saxophone and composition at North Texas State University in the late 1970s. In 1978, inspired by minimalists such as Steve Reich and Brian Eno,^{[citation needed]} he began developing his own vocabulary using tape loops and old reel-to-reel tape decks. He developed his meditative, melancholy style experimenting with short looped melodies played against themselves creating feedback loops.

His first release was Shortwave Music. Although created in 1983, it was first released on vinyl in a small edition in 1998 by Carsten Nicolai's Raster-Noton label. This was followed by Watermusic, self-released in 2000 on Basinski's 2062 Records. Another 2-disc work was Variations: A Movement in Chrome Primitive, 1980: it was finally released in 2004 by David Tibet on the Durtro/Die Stadt label. At the time this work was created, Basinski was experimenting with compositions for piano and tape loops.