If you want to use paper seamless, they come in many colors, 9' wide, 36' long rolls (black, white, gray & blue also come in 12' and 50' or 100' long) and usually run about $40/roll plus shipping if you're not near a camera store. (Some come on a "core", this is better if you can get it). I have a 10' long, 2" diameter wooden pole that I hang the paper from. on location I simply lay the pole in the "V" formed by using an A-clamp business-end down on top of a "C" stand - the "V" is formed by the handles. This way I can use the "C" stand to adjust the the height. Make sure you have sandbags on the bottom. In the studio, I install eye bolts in the ceiling and run a rope through a pulley, then use a sliding connector on the end of the rope to attach it to another set of eye bolts screwed into the ends of the pole. (And then you attach a clete to the wall to attach the other end of the rope to). Either method makes changing paper fairly fast, but do work best with a helper. Also, as stated elsewhere, don't store the poper on the horizontal pole when not in use or you'll get horizontal creases in it. Wrap it up tight and store vertically.
If you want to make colors, I would suggest using mid-gray rather than white. Any color on white will be suseptible to white light bleed from the main lights, and will come out looking kind of pastel. Gray will give you more saturation. Also, keep the background several feet behind the model so that you are almost lighting them seperately. A rule I learned from Dean Collins is: With only the main lights firing, take an incident reading from the model's position and from right in front of the paper. If the difference is less than 3 stops, you will get white-bleen into your background. You may have to turn the main lights down or away from the background, or flag them off, or simply move the background farther back to get the desired result.
I just posted this pld shot of Cindy Margolis yesterday in response to another question but it works here too. This is a greay textured background lit exactly as I decribe above, using green gels on the background.
Andy Pearlman Studio