Question:
The "Miracle on Ice" refers to a medal-round game during the men's ice hockey tournament at the 1980 Winter Olympics in Lake Placid, New York, played between the hosting United States, and the defending gold medalists, the Soviet Union. The Soviet Union had won the gold medal in five of the six previous Winter Olympic Games, and were the favorites to win once more in Lake Placid. The team consisted primarily of professional players with significant experience in international play. By contrast, the United States' team--led by head coach Herb Brooks--consisted exclusively of amateur players, and was the youngest team in the tournament and in U.S. national team history.
Vladimir Krutov was sent to the penalty box at the 6:47 mark of the third period for high-sticking. The Americans, who had managed only two shots on Myshkin in 27 minutes, had a power play and a rare offensive opportunity. Myshkin stopped a Mike Ramsey shot, then U.S. team captain Mike Eruzione fired a shot wide. Late in the power play, Dave Silk was advancing into the Soviet zone when Valeri Vasiliev knocked him to the ice. The puck slid to Mark Johnson. Johnson fired off a shot that went under Myshkin and into the net at the 8:39 mark, as the power play was ending, tying the game at 3. Only a couple of shifts later, Mark Pavelich passed to Eruzione, who was left undefended in the high slot. Eruzione, who had just come onto the ice, fired a shot past Myshkin, who was screened by Vasili Pervukhin. This goal gave Team USA a 4-3 lead, its first of the game, with exactly 10 minutes remaining to play.  The Soviets, trailing for the first time in the game, attacked ferociously. Moments after Eruzione's goal, Maltsev fired a shot which ricocheted off the right goal post. As the minutes wound down, Brooks kept repeating to his players, "Play your game. Play your game." Instead of going into a defensive crouch, the United States continued to play offense, even getting off a few more shots on goal. The Soviets began to shoot wildly, and Sergei Starikov admitted that "we were panicking". As the clock ticked down below a minute, the Soviets got the puck back into the American zone, and Mikhailov passed to Vladimir Petrov, who shot wide. The Soviets never pulled Myshkin for an extra attacker, much to the Americans' disbelief. Starikov later explained that "We never did six-on-five", not even in practice, because "Tikhonov just didn't believe in it". Craig kicked away a Petrov slap shot with 33 seconds left. Kharlamov fired the puck back in as the clock ticked below 20 seconds. A wild scramble for the puck ensued, ending when Johnson found it and passed it to Ken Morrow. As the U.S. team tried to clear the zone (move the puck over the blue line, which they did with seven seconds remaining), the crowd began to count down the seconds left. Sportscaster Al Michaels, who was calling the game on ABC along with former Montreal Canadiens goalie Ken Dryden, picked up on the countdown in his broadcast, and delivered his famous call:  11 seconds, you've got 10 seconds, the countdown going on right now! Morrow, up to Silk. Five seconds left in the game. Do you believe in miracles? YES!  As his team ran all over the ice in celebration, Herb Brooks sprinted back to the locker room and cried. In the locker room afterwards, players spontaneously broke into a chorus of "God Bless America"  and received a congratulatory phone call from President Jimmy Carter.  During the broadcast wrap-up after the game, ABC Olympic sports anchor Jim McKay compared the American victory over the Soviet professionals to a group of Canadian college football players defeating the Pittsburgh Steelers (the recent Super Bowl champions and at the height of their dynasty).
Answer this question using a quote from the text above:

What is the the third period about?

Answer:
Vladimir Krutov was sent to the penalty box at the 6:47 mark of the third period for high-sticking.

Answer the question at the end by quoting:

Thelonious Sphere Monk was born two years after his sister Marion on October 10, 1917, in Rocky Mount, North Carolina, and was the son of Thelonious and Barbara Monk. His badly written birth certificate misspelled his first name as "Thelious" or "Thelius." It also did not list his middle name, taken from his maternal grandfather, Sphere Batts. A brother, Thomas, was born in January 1920.
In his early teens, Monk toured with an evangelist, playing the church organ, and in his late teens he began to find work playing jazz. In the early to mid-1940s, he was the house pianist at Minton's Playhouse, a Manhattan nightclub. Much of Monk's style was developed during his time at Minton's, when he participated in after-hours cutting contests, which featured many leading jazz soloists of the time. Monk's musical work at Minton's was crucial in the formulation of bebop, which would be furthered along by other artists, including Dizzy Gillespie, Charlie Christian, Kenny Clarke, Charlie Parker, and, later, Miles Davis. Monk is believed to be the pianist featured on recordings Jerry Newman made around 1941 at the club. Monk's style at this time was later described as "hard-swinging," with the addition of runs in the style of Art Tatum. Monk's stated influences included Duke Ellington, James P. Johnson, and other early stride pianists. In the documentary Thelonious Monk: Straight, No Chaser, it is stated that Monk lived in the same neighborhood in New York City as Johnson and knew him as a teenager.  Mary Lou Williams, who mentored Monk and his contemporaries, spoke of Monk's rich inventiveness in this period, and how such invention was vital for musicians, since at the time it was common for fellow musicians to incorporate overheard musical ideas into their own works without giving due credit. "So, the boppers worked out a music that was hard to steal. I'll say this for the 'leeches,' though: they tried. I've seen them in Minton's busily writing on their shirt cuffs or scribbling on the tablecloth. And even our own guys, I'm afraid, did not give Monk the credit he had coming. Why, they even stole his idea of the beret and bop glasses."  In 1944 Monk made his first studio recordings with the Coleman Hawkins Quartet. Hawkins was one of the earliest established jazz musicians to promote Monk, and the pianist later returned the favor by inviting Hawkins to join him on a 1957 session with John Coltrane.

How did they help?
Monk's style at this time was later described as "hard-swinging," with the addition of runs in the style of Art Tatum.