"Beat Bop" is a song by American hip-hop artists Rammellzee and K-Rob. It was produced and arranged by Jean-Michel Basquiat. Initially, it was made as a test pressing by Tartown Inc. in 1983. That same year, the song was released as a single by Profile Records, and featured in the hip-hop documentary film Style Wars (1983).

Due to the rarity of its original pressing and the cover art by Basquiat, "Beat Bop" is among the most valuable rap records ever made. In 2017, Rolling Stone magazine ranked it among the "100 Greatest Hip-Hop Songs of All Time."

Jean-Michel Basquiat rose to prominence as a street artist writing on the walls of Lower Manhattan as SAMO. He was immersed in the Downtown music scene with his experimental band Gray before becoming a successful painter. Basquiat befriended graffiti artists Rammellzee and Toxic and invited them to accompany him to Los Angeles while he prepared for his exhibition at the Gagosian Gallery. The trio are depicted in Basquiat's paintings Hollywood Africans in front of the Chinese Theater with Footprints of Movie Stars (1983) and Hollywood Africans (1983).

Toxic recalled that "Beat Bop" was inspired by an impromptu jam session. "Madonna was staying at Jean's place while he was in LA. I was there with my friends Trace and General EMC. She let us up ... I was playing the drum machine and Madonna started playing the keyboard. My friend started emceeing. We took Jean's turntable and scratched. Jean heard the tape," he said.

The actual "Beat Bop" record became a showdown between Rammellzee and 15-year-old battle rapper K-Rob. Basquiat had heard K-Rob rap at an event in the East Village and invited him to a recording session with Rammellzee. The result was a ten-minute track produced and arranged by Basquiat. It was released independently in a reported run of just 500 copies on Basquiat’s own Tartown Inc. imprint featuring his art on the cover. It was also distributed by Profile Records, without his artwork, in 1983 and later in 2001.

Although Rammellzee initially denied Basquiat's role on the record, he later confirmed his musical involvement. K-Rob said, "Jean-Michel made the beat. Listen to the beat: That is Jean-Michel. That's the type of person Jean-Michel is." Basquiat's friend, writer Glenn O'Brien, said: "His band Gray was really an interesting band — even though they weren't real musicians, they had this great musical sensibility, and I think that, in a way, 'Beat Bop' has a bit of that Gray sound to it, that sort of dub-space thing, a lot of space in the music, a lot of echo."

Basquiat booked a session at a studio in Manhattan and hired Al Diaz, his former SAMO collaborator, as a session musician. Diaz said, "Sekou Bunch, I think he was a house musician at [the studio], came up with the riff, the little skanky guitar riff and the bass line per Jean's approval. Eszter Balint came a little later to the session and played the violin. I played a rack with cowbells, a go-go bell, and woodblocks that were all on a percussion rack, and timbales."

Basquiat had written verses for Rammellzzee and K-Rob them which they rejected. Rammellzee recalled, "We crushed up his paper with the words he had written down and we threw it back at him, face first. Then we said, 'We're gonna go in these two booths,' and [I said], 'I'm gonna play pimp on the corner' and K-Rob said, 'I'll play schoolboy coming home from school,' and then it went on. According to Rammellzee, Basquiat wanted to rhyme on the record, but K-Rob refuted that assertion.