This seems trivially easy to circumvent. For example, take your 3/4 song that's 160 bpm and call it a 6/8 song that's 80 bpm. Done.
For those that aren’t familiar with courts, people who make an effort to piss off the judge are setting themselves up for a bad time.
Legal systems are unfair if they’re too flexible. They’re also unfair if they’re too inflexible. Autocrats tend to use both extremes to their advantage; all flex for them, no flex for you.
One day ago you (flagged) commented “I hope [Trump] holds a military tribunal for every single person in the FBI”, so I’m not sure how genuine your astonishment is.
If the government can't make coherent laws, that is the government's problem.
edit: If the torture is unlawful, then the government is illegitimate. I'm not saying life doesn't suck; I'm just saying no actually citizens should not tolerate unjust laws just because making just laws is ~too hard~.
(I had to add this reply in an edit because this garbage ass gestapo run website is throttling my reply rate.)
If Ramzan Kadyrov is properly serious about this declaration then it'll firmly remain a citizen's problem until the next great leap { forward | backward | sideways | down }.
In 3/4 it's a given that the quarter note is the part that gets represented by the word "beat." That's 160bpm, so an eighth-note would be 320bpm.
In 6/8, the dotted quarter note is what gets represented as the "beat" because in 6/8 the meter divides into two halves of 3 eighth-notes each. So if you want to set each eighth-note in 6/8 to go by at 320bpm, a duration equal to three eighth-notes (a.k.a. a dotted half-note, or the "beat" in 6/8) is going to be about 107bpm.
Edit: tldr; if you set the tempo in 6/8 by referring to a quarter note, it will be suspicious and the beat police will bring you in for questioning.
1. The full measure divided into 6 eighth-notes, as you point out
2. Those six eighth-notes divided into two groups, each containing three eighth-notes
Musicians end up counting it something like this: "ONE two three TWO two three," with a primary emphasis on "ONE" and an ancillary emphasis on "TWO." These two accents are sometimes called the "big beats," or are notated as dotted quarter-notes both in the score and in the tempo marking. The accent pattern can also be described as "feeling it in two," meaning that the player picks a tempo suitable to make the big beats clear to the listener.
While there are some slower 6/8 pieces where the tempo marking might be specified with an eighth-note, the piece is still notated using dotted quarter-notes to mark the "big beats," and (aside from some temporary syncopations) the players still divide up the measures into two big groups.
It is counted and notated this way because-- ignoring temporary syncopations-- music written in 6/8 predominantly obeys those metric groups.
In other words, if you try to speak the eighth-note tempo in 6/8 doing, "ONE and TWO and THREE and," you will be going against the grain of the music. E.g., you'll be speaking that rhythm while the bass pattern might be articulating bass notes on eighth-note #1 and #4, and/or the melody follows a pattern in groups of three eighth-notes, and/or the middle-range accompanimental chords play on eighth-note #2, #3, #5, and #6, and so on...
But I don’t think this kind of thing will get you off the hook in Chechnya.