Cole first became involved in national labor issues when it was suggested that he become involved in a dispute regarding the steel industry that threatened to overturn wage controls established during
World War II. Philip Murray, president of the
United Steelworkers and later head of the
Congress of Industrial Organizations, rejected Cole for the role. After Cole challenged him about the rejection and Murray explained that the concern was that he was too close to management, Cole had Murray confirm his credentials with New Jersey union leaders, and got the post after the original objections were withdrawn. Cole was known for tracking negotiations using four pens with different colors of ink, using a different color to track each side's stance and his own notes. The detailed and colorful tracking of the negotiations helped Cole convince both labor and management that he was ensuring that both sides were heard. One of Cole's most-treasured objects was a signed poster from
Marc Chagall, given to him by the artist after Cole helped break a stalemate in negotiations to ensure that the new
Metropolitan Opera facility in
Manhattan's
Lincoln Center for the Performing Arts opened successfully in 1966. He served as president of the
National Academy of Arbitrators and as a trustee of both the
American Arbitration Association and the
Carnegie Endowment for International Peace. ==Personal==